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Categories
Our Voices

Wealth Planning for the Not Wealthy

Collage of blue/green background with money floating around and black and white head/shoulder photo of a woman with blonde hair mid length. wearing glasses.
CEO and co-founder, Kristine Beese, Untangle Money | Photo Supplied

Women don’t make as much money as men. Full stop.

That’s true in a very short-term, dollars-to-donuts way– in Canada, as of 2021, a woman makes 89 cents for every one dollar a man makes. In real world terms, this means that if a man has to work 1,000 hours to make enough money to pay for something–a car, a piece of clothing, rent–a woman has to work 1,110 hours to purchase the same item, an amount that comes out to an extra 2.75 40 hour work weeks. 

The matter only compounds when you account for other intersections: as a racialized woman makes approximately 59 percent of what a white man makes, only 16 percent of women with a disability report being paid fairly compared to their peers and trans women make, on average, one-third less after transition than they did prior. 

The larger problem however, is that the buck, as they say, doesn’t stop there–these upfront short falls, along with social expectations and responsibilities around motherhood, caretaking and the culture of wealth and investing itself all conspire to create a situation where women not only earn less on the dollar than their male counterparts, they take longer to catch up and longer to accrue wealth, and are less likely to take “aggressive” investment options to maximize returns,  says says Kristine Beese, founder and CEO of Untangle Money. 

All this, says Beese, not only contributes to the wealth gap between men and women, but can have big impacts on women–who tend to outlive their male partners by a significant margin–on their quality of life and financial stability when it comes time to retire. 

Untangle Money, Beese says, strives to correct for this imbalance by creating “financial plans specifically designed for women and their lived experiences.” 

Cool–so what does that actually mean

Beese, who got her start in more classical financial management working for Bay Street firms in wealth management and investing, says it means looking at the actual culture of financial planning, which isn’t geared towards real, everyday women, but to wealthy, largely white and cis, men–the exact demographic that makes that 11 percent more on the dollar, and makes it earlier on, for longer, than women. You can’t take that tool, she says, and just try to slam women–especially women of colour, or women with disabilities, or working class women–into it and expect it to work for them. 

“The first step is to define your financial goals–but you have to remember that a traditional financial plan is geared towards people who already have money,” Beese says. “When you have money, it’s great to define what goals you have for yourself…but when we start with clients and they define their goals, they (say) things like ‘well, I’d like to have a car, I’d like to go back to school,’ things like property, education–things which, for the middle class, are actually very (financially) tight.” 

When you look at these goals and the income of the average woman and put it into the usual investment and financial planning strategies, it often looks like they not only can’t afford to meet these goals, they “can’t afford to retire,” says Beese. “I think that really shows what happens when you inadvertently take a tool that was designed for really wealthy people and try to apply it to the average person,” she says. 

Instead, Beese asks clients to create realistic portraits of their “now money” and set expectations around that. 

“So, we (Untangle Money) says ‘okay, here’s what you’ve told us about your money, here’s where we envision you’re going to be able to go with that, and here are the drivers that go into that picture–and so we’re trying to get your money to work harder to you,” she says. 

One facet of this is understanding that women have consumer needs and spending that men don’t have, and pay more for basic consumer goods–women’s clothes, for example, cost an average of 8 percent more than men’s clothes, and toiletries like deodorant or razors cost an average of 13 percent more, even when they’re chemically and practically the same product. This is important to think about, because that markup had to be adjusted to account for the lower earning power women have in the first place–that dress shirt that costs 108% instead of $100 was already 11 per cent more expensive for a woman even we account for gender-based inflation, because is only making 89 cents on the dollar in the first place. 

Moreover, “women’s spending is often seen as frivolous,” Beese says; both scotch and manicures–for which Beese herself has been “lambasted for getting” in the past– are consumer goods with social cache, but while scotch is seen as serious purchases, manicures are seen as silly. There are also social ramifications, Beese notes, for not being able to engage in certain kind of spending for women–’attractive’ people make between 10 and 15 percent more than people perceived to be ‘unattractive’ in the same position. While this is true for both men and women, to meet this standard, women have to put in more time–and spend more money–in order to avoid the ‘beauty gap’ standard, which makes these purchases, to a point, personal investments, as opposed to consumer luxuries. 

“There’s nothing more discerning about getting your nails done than buying a fancy bottle of scotch,” Beese says. 

“One can actually (see nails) as an investment, but when I talk to a financial advisor, they see that as a discretionary spend.”

This is more true of some industries, such as customer service or sales, than in others, adding that, for example, when she was a server she actually had a contract that said she was required to meet a certain standard of grooming in order to keep her job. This is especially true for racialized women, who–in some unfair, racist, and biased workplaces–are often expected to meet a white-centric “standard” of beauty around their hair for example, which has additional social, economic and temporal costs. 

“When we talk to black women, for instance, and they talk about all their hair maintenance, that is not discretionary (spending),” says Beese. “And so (Untangle Money) includes recurring hair maintenance as part of the cost of living that you incur (in your financial plan).”

Lower earning power and higher costs of living aside, women have another big problem when it comes to their financial and retirement goals, which is the culture of investment and finance itself. Women, says Beese, are culturally perceived to be less successful with money and investment than men–but we aren’t talking about anecdotal evidence, we’re talking about numbers, and the numbers say that not only is that not true, but that women are, overall, better with their money than men in the long terms, says Beese. In fact, when men and women invest at a similar level of risk, women’s investment portfolios outperform men’s by 1 percent; essentially, at a certain risk level, if a stock is expected to give a 4 percent return on investment in a man’s portfolio, women are seeing 5 percent–which is a bigger deal than it sounds, because that 1 percent return is compounded annually. 

What does that mean, in real world terms? Imagine you have 100 cows and your friend has 100 cows. After selling calves to meet your costs, you have four cows extra in your herd to start off next year, but your friend has five cows–a four and five percent increase for each of you, respectively. That doesn’t seem like a lot, but after five years you have 117 cows and your friend has 121; after 10 years, you have 142 cows, and your friend has 156. 

This one percent overperformance is so significant that, for a professional investor like Beese, it would be “career defining.” 

“If we consistently outperform the market by one percent, that makes you an incredible investor,” she says. 

Women, however, tend to be attracted to–and steered towards–lower risk, lower reward investment strategies, says Beese. On the surface, this seems like a safer bet–and one which might offer a cash-first safety net, even if it comes at the cost of paying off interest heavy debt–but have long term repercussions, especially when you consider that women make less, start generating investable wealth much later, and will live longer than their male counterparts. Part of what Untangle money does, Beese says, is take these things into account and give women all the information they need, including options that might look riskier up front, but have higher payoffs to help generate the cash needed to close that gender pay gap and shore up funds for the future–investment strategies women may have been taught to consider to “aggressive” for their own portfolios, but which men are encouraged to make. 

Upfront, women-focused financial planning aside, Untangle Money has a social, as well as economic focus, says Beese. For one thing, the company only creates financial plans – it doesn’t sell you any stocks or other investments, because that creates situations Beese feels can lead to “conflicts of interest.” For another, the company–acknowledging that their primary clientele is middle to upper middle class women at the moment–has several tiers of access in order to try to make their services more widely available to a broader set of income brackets, although only one of them is up and running at this time. 

Untangle Mini ($500+HST), the entry level program currently available, offers the “basics” for middle-class women looking to take control of their finances, plan for the future and get grounded in the basics of investing. Untangle Maxi ($2,500+HST) is a more advanced program with greater focus on investing and long term planning; it’s not currently available, but should be ready for purchase soon. Untangle Auto is an app that will provide all the same tools as Mini and Maxi, but with more capacity for the user to proceed at their own pace, checking in annually to observe their progress and set up notifications to make sure they are meeting their goals. 

Beese says she hopes to have Untangle Auto up and available by next International Women’s Day. At $50, the app is geared to a more lower-middle or working class bracket–the group of women Beese says she most wants to reach and help take control of their finances. Beese says she recognizes that the Maxi and Mini programs aren’t really useful to these groups, because in order to invest money, you need to have money to invest, and the Auto program is designed to make that easier and more realistic for a broader set of women. 

“Our goal is to get a financial plan into the hands of every woman in the world,” says Beese. 

Publishers Note:  Untangle Money participated in the Fifth Wave  Initiative, 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 and commerce 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 a minimum of 50% participation per cohort by members of underrepresented groups. The Fifth Wave is a LiisBeth ally sponsor at the Lighthouse level

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Categories
Our Voices

Emphasizing Empathy Pays Off

Image of two women working on a computer with a colourful art background/collage style image.
Ruth Wylie (left) and Melanie Grad (right), cofounders, Perspective Squared.

When she was head of production at Variprix, Grad says she tried to lead with flexibility, because caregiving extends to many people.

“There was a man who lived in Newmarket (ON) who would drive downtown to Liberty Village everyday,” she says. “He had basketball with his boys twice a week and I said, ‘You better get your ass up there. Those are the important things.’

“Men and women – we all have other priorities. That opportunity really taught me that’s not something to compromise on when we’re running our business.”

 

Although they are at different places in their life, Grad says she’s learning a lot from Wylie, who, at 52, brings a “menopausal lens” to their partnership and business.

 

“For so long, for so many decades, no one spoke about it,” says Wylie. “Yes, you see women in later stages of their lives change their careers and do different things and that’s amazing. But how many of those women made those changes because they couldn’t navigate their current career path feeling the way they were feeling?”

“(Menopause) ebbs and flows – particularly (for me in) the last three months, I’m ebbing in the most challenging of ways. I adapt, sometimes daily, to my energy and focus levels, taking breaks and shifting tasks/priorities when possible,” she says. “ It most definitely makes me more aware of other people’s energy and trying to make a space for people to share feelings, ask for help, or to just be if that is what they need.”

Like the flexibility that Grad has sought out as a single parent, Wylie says she now finds herself adjusting her work schedule to prioritize her well-being as she goes through menopause.

“I grew up with the notion that to succeed you need to work harder and longer and keep your emotions in check. Success was intrinsically linked to performance, how much I did and how well it was received. I am working on reframing that notion, and today my success is more about being self-satisfied with the work I produce, how it is done and in the environment I help create for others to work within.”

The lack of these important conversations about their lived experiences have encouraged Grad and Wylie to open up space for more human conversations with their partners and colleagues. One area they strive to invest their time and energy in is through mentorship. As Wylie puts it, they, “want to make the time to be able to give back to the next generation of super producers and female entrepreneurs.”

“For example, we just wrapped up six days on set with a really lovely crew,” says Grad. “The conversation at the end was: we really loved working with you, but let’s have a coffee to talk about what you like to do so that we’re putting you in the right position next time. Just because you came on as an associate producer or camera assistant, we realize you have other skills and other interests. We can definitely put you in the same role the next time, but if we know what you like to do and we have opportunities to provide that, then let’s make that happen. Those conversations are important to us.”

“I feel very strongly about our efforts to create a business where we work collaboratively with others, creating a space that supports our team learning and growing and contributing to our shared success,” adds Wylie. “Growing the business and being profitable is unquestionably a goal, but the first priority is always the people and community we develop and grow the business with.”

Grad and Wylie emphasize the empathy and generosity that they aspire to bring to all aspects of their work. As Grad says, “It’s important for us to take what works and share it with other people. If you like our process, take it. If you like the way we structured our call sheets, take it. If you like the way we build, take it. Our success is not the ultimate goal. We want to see everybody’s success.

“Let’s all rise together. If we figured it out the hard way, take the easy way.”

Publishers Note: Perspective Squared participated in the Fifth Wave  Initiative, 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 and commerce 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 a minimum of 50% participation per cohort by members of underrepresented groups. The Fifth Wave is a LiisBeth ally sponsor at the Lighthouse level

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Categories
Feminist Practices Our Voices

Slaying Overwork and Overwhelm

Photo of middle aged woman with turquoise, mid lenght hair wearing a hat, riding a bike on a sunny day.
Jenn Hazel, founder of Curate Concierge. Photo by Emily Doukogiannis @emilydphotography

As an entrepreneur, what’s your time worth to you? 

Now, what’s having control of your time worth? 

For most people who own their own business–especially small businesses owned by women–the answer is a lot. Studies show small business owners regularly work more than 50 hours a week, with 68 percent of those hours spent just managing daily tasks, such as emails or phone calls, and only 31 percent of that time spent actively growing their business. Moreover, in a 2021 survey, 41 percent of small business entrepreneurs reported being called away to handle a work-related matter, even when they were actively trying to take a break.

These are the kinds of problems Toronto-based Jennifer Hazel of Curate Concierge has set out to solve. 

Essentially, Curate Concierge helps entrepreneurs design and implement tightly curated, streamlined, technology-enabled work flows so that founders spend more time on their business rather than in their business. 

“My services appeal especially to growing small businesses and entrepreneurs looking to scale their systems operations to fit the budget, the needs, and the projection of their own growth,” Hazel adds. “ Our solutions are also really customized, scalable and agile– ones that can adapt.”

Similar to the way a scientist needs carefully crafted, systematically controlled research practices in order to conduct a successful experiment and gather the most accurate and useful data, small businesses too, need efficient, personally tailored operational and data gathering  systems to be successful.

Everyone knows this. But there is seemingly never enough time. And few founders go into starting a business dreaming about building a starship enterprise style operating system or healthy approach to work. They figure out the importance later on. 

This is a story Hazel knows well.

After returning from a maternity leave, Hazel says she returned to a job in which her duties were so “dramatically altered that I couldn’t really work it anymore.” With her young daughter at home and dependent on her, Hazel, who had initially been studying to be a lawyer, found she had to “make a shift very quickly,” and went into a retraining program to be a paralegal. 

Why Entrepreneurship?

“It wasn’t like I chose to be an entrepreneur at that point,” says Hazel. “Paralegal seemed like a good middle ground and timing wise, it fit. I was relying on a childcare subsidy that I absolutely had to keep – but you absolutely have to be employed or in school or…you have to be working.”

When she finished the program, however, Hazel found herself in an awkward position–she couldn’t work as a paralegal yet, because she was waiting for her licensing to come through, but was severely over qualified to be an administrative assistant. Hazel began thinking about the practice management skills she had learned during her certification as a paralegal, and that’s when the idea of running her own business “started to gel.”

Taking the Busy out of Business

Entrepreneurs–particularly women and especially women with kids– come up against “structural barriers” within contemporary work culture that not only make it harder for them to succeed, but create an emotionally and professionally damaging environment. 

Hazel soon realized she had skills which could help other entrepreneurs not only build less “busy” time sucking businesses, but better lives., Hazel’s business, Curate Concierge started as a business admin company for “twenty bucks an hour, in between (her) daughter’s naps and after she went to bed.”

“I think I posted an ad or responded to an ad (for work) or something in a Facebook group for East End Toronto mom entrepreneurs,” she says. “These were all women with businesses who, a lot of them, were on maybe their second mat leave, or were in between jobs or had recently left their place of work because (the job) didn’t work for them–the hours didn’t work for them, or the work was not aligned (with what they needed). 

Despite the freedom on being an entrepreneur, “They (the women entrepreneurs) were burning the fuck right out because, I mean, insert any one of a million reasons why the traditional job market is hostile to women working parents– and, you know, add in any other intersectionalities on top of that–and you just start to find yourself lower and lower down in the economy.” 

From these experiences, Hazel conceived Curate Concierge–although it certainly wasn’t easy, she says, noting that in the beginning she was under charging for her services and over extending herself personally–things she seeks to help her clients overcome now. 

“It cost me in the beginning way, way more to offer my services than I ever made from it,” she says. “I started learning the lesson (that I) had to value my time–that came very very quickly.”

That lesson became even more important, she says, when she and her partner split, taking her from a dual income parent to a single one–an incident that helped guide her to incorporate feminist ideology into her business, albeit “by accident.”  

“That split came, and suddenly the stakes got so much higher–I had to support myself and two little kids by myself as a solo parent…Toronto is one of the most expensive cities in the world, and I found myself tied here in a co-parenting relationship.”

Although this was difficult, Hazel says the split was ultimately good, because it allowed her to see herself and her work from new, feminist-oriented perspectives. 

“The imbalance (in my work life) started, really, when my children arrived–or, really, if we go back a little bit further than that, the fact that I got knocked up before I could even start my career,” she says. “This was where my life was at the time, and these were things that were not as smack-in-the-face prominent to me at the time, when you start to realize the gender imbalance in the home and in the workplace.” 

“The only reason my new business could take off,” Hazel adds with a laugh, speaking of the unpaid  domestic and emotional labour she juggled prior to her separation,  “is the fact that I wasn’t cleaning up after after a quote unquote  ‘third child’ in addition to my other two actual children.”

Beating Toxic Productivity Culture

The idea that you have to be constantly on and constantly available as a worker–or as a business owner–is a toxic one, says Hazel, and something she works hard to recondition both systems and her clients to fight against. One client, for example–a lawyer who was used to always being “on”–was getting ready to take a vacation for a week, and asked Hazel to watch her inbox for her, even though no one was in litigation and she didn’t really need someone to be paying attention to her emails–she was just so accustomed to being available that she assumed she had to be, even though it wasn’t necessary. 

“I said, ‘Okay, does the auto responder work on your email? Then why don’t you just turn it off, save yourself the money and enjoy your week at the cottage?” she says. “It was honestly so unheard of for her, and she wrote back to me in such shock at such a simple suggestion…those are really common stories that I get with clients.”

Hazel says helping her clients see and beat these toxic patterns is incredibly rewarding for her, especially when it leads to realizations for those clients about creating better and more balanced lives –and businesses for themselves.  

“This is exactly why I went into business for myself,” Hazel says.

Publishers Note: Curate Concierge participated in the Fifth Wave  Initiative, 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 and commerce 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 a minimum of 50% participation per cohort by members of underrepresented groups. The Fifth Wave is a LiisBeth ally sponsor at the Lighthouse level

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Categories
Allied Arts & Media Our Voices

Serving up “MILF and Cookies”

Image of comedian Ann Marie Sheffler in the foreground and theatre billboards in the background highlighting her shows.
Canadian actor and producer of nine one-woman shows, Ann Marie Scheffler. Photo by Time Leyes

Look, between the ongoing global pandemic, crushing defeat of Wade v. Roe and an escalating international conflict low-key threatening to go nuclear, we at LiisBeth know it’s been a tough year (or three) but rest and pleasure are an important part of resistance work. To lighten things up a little (and help you get your laugh on) we interviewed Anne Marie Scheffler, a long-time career actor, writer and producer, about her new, up-coming holiday show MILF and Cookies.


Q&A

LiisBeth: Let’s start with the facts. Who is Anne Marie Scheffler?

Scheffler: I was born in Toronto, Rexdale in fact. I’m a first generation Canadian. My parents are German and Polish. My father was a bank manager and my mom was a stay-at-home mom. I started getting paid as an actor at the age of 15. I went to the University of Toronto, got a degree in English, and was at the same time booking professional acting gigs while writing my university exams. From there I went to George Brown Theatre School for formal training. And TV. Oh boy, I wanted to marry TV. With TV you could talk to the world, and I really wanted to talk to the world. Not surprisingly, I’ve been in over fifty TV commercials and love being on TV.

LiisBeth: You’re an actor first and foremost. What led you to write and produce your own shows?

Scheffler: When I got my first agent in my 20s, she got me film and TV auditions. And I was thrilled! Until I saw the roles: rape victim. Go into the audition room and scream. Look, I did go into the audition room and scream. But I kinda didn’t want to get the booking. And another audition was “girl number 1” and I went in with “guy number 1” and we had to neck. That was the actual audition. No lines. So, I’m thinking, “maybe I need to write the roles I want to play.” And so I wrote funny monologues for myself. Honestly, I wrote my first play in grade 3 that our class put on in front of the whole school. I had always been writing for myself. Doing improv. Imagining the possibilities.

When you’re hungry and ambitious in your twenties, you want to act as much as possible. My fellow actor friends and I would do open mic nights, fundraisers, anything to see if our stuff worked. I had about five monologues in my back pocket that I wrote for myself and auditioned with. Artistic directors would be like: “That was great! Where did that come from?” And I’d say “I wrote it.” And that sometimes got me writing job offers which I never took because I was an actor!

In 1994, I had a spot in the Summerworks theatre festival in Toronto. Basically you pay for a spot to put on a show in a respected theatre festival. I had been doing clowning at the time, but my clown partner had left me, and all of a sudden, I didn’t have a show! The producer Benj Gallagher said to do a one woman show. I was like, “Hell, no!” but I was working at His Majesty’s Feast as a singing wench, and my fellow wench, Sarah Sked, said she’d be my director. I sewed my five funny monologues together and created my first solo show Situation: NORMA. 

NOW magazine’s late, legendary and much-beloved theatre critic, Jon Kaplan, was at my show on opening night. He loved it so much that he sent a photographer to my house the next day. My picture appeared in the theatre section, with Kaplan’s glowing review in which he called me “a gem.” My career took off. I got a better agent, I worked even more in TV and film, and I wrote two more Norma shows: Watch…Norma’s Back and Leaving Norma.

I toured my Norma shows at fringe festivals in Canada and the US, selling out and getting rave reviews and honing my comedy chops on stage, really poking fun at what it was like to be (supposedly) following society’s norms. I make fun of myself in my comedy, spoofing the conditions I find myself in, to actually shine a light on the ridiculousness of the roles we play in order to be good.

In 2001, I went to a taping of Everybody Loves Raymond at The Warner Brothers studio in Burbank, and the penny dropped. At this point, I was doing TV roles, TV commercials, doing my own live shows, and here was a multicam sitcom. A marriage of theatre and TV. I fell in love with multicam. Soon after, my live comedy show Not Getting It long-time into a one-hour Comedy Now! special for CTV/ The Comedy Network by SFA Productions. A seven camera shoot. Of course, I’m still priming the pump for the seven season multicam series–or single camera, I’m flexible–but the path was unfolding.

Ironically, my old agent said to me: “I can see you being like the wife on Everybody Loves Raymond!” And I said “I’m Raymond!”

LiisBeth: What is your relationship to feminism? When did feminism come into your life? 

Scheffler: In terms of feminist influences, I can start with my mother. She taught me unconditional love. She is a walking love machine. My mom is, literally, love

My father told me that to have my own money is to have my own freedom. That shaped me a lot. I didn’t think in terms of being a dependent, or a wife, I wanted to make my own money, make my own success, in the way that I wanted to.

That worldview was ingrained in me. It’s why I said no to demeaning roles. I wasn’t up for a career of playing victims. I lobbied with my actor’s union to influence producers to have more women roles that reflected whole, real women.

I knew how to write, and I took charge of my career and wrote and produced “myself.” As Nia Vardalos (My Big Fat Greek Wedding) told me in an article I wrote for the Alliance of Cinema, Television and Radio Artists (ACTRA) on women in the business: “Don’t wait for the phone to ring–call yourself.” Now that I am older and coming from a place that is so much more whole, I have moved way beyond the “pick me, pick me, pick me!” approach to my career to one where, basically, I pick myself. 

LiisBeth: So as a woman actor making her way in a Harvey Weinstein world, how do you reconcile a highly sexualized approach to comedy and use of the term “MILF” in a world where sexualization of women in entertainment is seen by many as problematic? 

Great question. So, as a comedian, it’s my job to mirror our shared experience as a society back at that society. I push the boundaries. I say what we are all thinking but I’m not afraid to say. To quote my comedy special: “I’ve achieved my goal! I’m fuckable! But now I’m offended by it!” Honestly, the comedy special is partly based on my experiences as an actor in really inappropriate situations with a producer. Which could have been victimizing, but instead I turned it into comedy gold.

Turning on your sexy and beautiful self shouldn’t be bad and unsafe. And if it feels bad or unsafe, I’m happy to shine the light of love and humour on it and expose it.

Collection of comedy clips from Anne Marie Scheffler shows (4 minutes)

As for MILF, I renamed and reclaimed a term that really offended (some people) but now has become less charged. Maybe soon you’ll be able to google ‘MILF’ and instead of porn, mostly comedy will come up. MILF and Cookies is sexy and hilarious.

LiisBeth: What’s next for Anne Marie? 

Scheffler: Like other actors/producers such as Reese Witherspoon and Pamela Aldon, I’ve been a great artist, now I want to shift to be an equally great business person.

I’d like to turn my one woman show MILF Life Crisis into a limited series like Phoebe Waller-Bridge did with her show Fleabag, and create blockbuster comedy movies. I’ve written myself two comedic vehicles–The Bachelor Whisperer and Princess Candy Cane–and am looking for the right producing partners. 

LiisBeth: Congratulations on an incredible journey as a woman in a tough industry! What advice do you have for others? 

 I remember being in my early 40s, and being a new mom with two little boys. I was juggling childcare to go to auditions, and lying in bed at night, thinking it’s very possible my life and my career are both over. And then I turned on the TV to a new show: 30 Rock. What? A new face? Tina Fey? A woman in her 40s? A mother? Who created a TV series she wrote and stars in herself? Again, the penny dropped. There was still hope. There is always hope. The only one who can limit you is you. Find your own voice and work it. There are a million different flowers in the garden. There is room for everyone. Decide what stories you want to tell, and then tell them really well.

LiisBeth: Speaking of stories, tell us about your upcoming holiday show, MILF and Cookies. 

MILF and Cookies is Anne Marie 2.0. It’s our sexy, single lead from MILF Life Crisis, with a woman who now has decided to be comfortable as a single MILF. She owns her MILFdom but then finds herself spending Christmas eating pot cookies with her BFFs and examining all the men she’s loved, all the men she didn’t love, and the men she is about to love. People walk away feeling lighter. And stronger.

LiisBeth: Sounds a lot like you Anne Marie! Thank you for sharing your talent with the world. 


MILF and Cookies plays December 15- 23rd at Toronto’s Comedy Bar Danforth’s main stage. Tickets available at comedybar.ca/shows/milf-and-cookies

Not in Toronto? You can catch Scheffler’s one-hour comedy special, Not Getting It, Monday December 19th on MTV2.

Publishers Note: Anne Marie Scheffler is a member of Fifth Wave Connect, a community of feminist women entrepreneurs who participate in the Fifth Wave  Initiative, a year-round program offered by CFC Media Lab and its partners to support the growth and development of women self-identified feminist entrepreneurs in the digital media and commerce sector in southern Ontario. Fifth Wave sponsors a series of profiles highlighting their work.  Fifth Wave Initiative is committed to a minimum of 50% participation per cohort by members of underrepresented groups. The Fifth Wave is a LiisBeth ally sponsor at the Lighthouse level. Fifth Wave 

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Free to Choose

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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Full Stream Ahead

picture of black woman entrepreneur, Samah Ali, Sistserhoodmedia
Samah Ali, founder of Sisterhood Media

Samah Ali remembers being struck by a disconnect between Black creatives showing their work on social media and the near absence of racialized content on streaming platforms. The self-proclaimed “binger” spent nearly eight years streaming movies and TV series on Netflix, but still found herself hungry for satisfying content. A Somali-Canadian, she didn’t see stories relevant to her community and life.

“I was just really tired of scrolling through Netflix for hours,” she says and finding little relevant to Black folks or other racialized or Indigenous people, certainly nothing sophisticated or nuanced. “I would watch terrible movies that were being distributed because they had a Black face or brown face. At the same time, I was on social media and I just saw all of these brilliant artists that I was following.” But getting access to those stories took time and work to find and follow the artists.

Ali felt there needed to be a single digital space where audiences could access all the work of racialized artists, whether video productions, music or podcasts. And those artists could reach their communities in one place.

In 2017, Ali launched Sisterhood Media, a content production and distribution company with a streaming platform to share stories by racialized artists, from racialized communities, for racialized people.

From creating to educating

Ali says her first hurdle was raising the initial seed funding to kickstart Sisterhood Media. Producing and distributing content is expensive and she did not hail from a family that has millions “to just give for love money for a passion project or business.” She joined Western University’s Propel summer incubator and the Western accelerator program to help her get started, but she says they did not really understand what she was trying to build.  

Ali grew frustrated by investors and accelerator programs who wanted Sisterhood Media to become a tech company because it was more sexy. She saw Sisterhood Media less as a tech  company than an organization that builds community by sharing content from diverse creatives—using tech as the medium to achieve that.

Ali hired a team of three other Black creatives, and together they chose to create two separate entities under the banner of Sisterhood Media: a distribution arm and platform for streaming content called Sisterhood Media TV; and Sisterhood Media projects, which create safe spaces such as movie nights showcasing short films and connecting racialized audiences with filmmakers. A screening series called What If Media Looked Like Us? addresses representation in the media industry.

According to Ali, these spaces help racialized people and artists come together and talk about importance of their stories, as well as exchange filmmaking and digital media skills that they can’t just learn from YouTube.

“[The educational component] has been by far the best driver of our impact because not only are we getting more folks involved in the industry and [getting] people who are already involved in the industry learning new skills, but also they find out about Sisterhood Media TV and end up wanting their films distributed on our platform as well.”

Sisterhood Media TV operates on a membership basis, with a monthly membership costing $5.99 and a yearly membership $54.99. The educational component and support for racialized creatives is supported by a three-year funding grant from the Ontario Trillium Foundation.

Raising the funding for Black creatives

One of the things Ali’s most proud of is how the organization is creating investment opportunities for racialized artists in the media industry through its partnership with Snail Mail Media, an independent production company based in Toronto. It specializes in narrative projects with a focus on diverse, commercially viable, impact-driven films for niche audiences.

That collaboration offers filmmakers early investment in their projects, from pre-development through post production as well as guaranteeing video on demand distribution on Sisterhood Media TV.

Ali wants to make it easier for young filmmakers, new filmmakers, and especially racialized filmmakers to find investment without having to go through a lengthy application process where they may be competing with thousands of other, more seasoned applicants.

“They simply have to submit their films Sisterhood Media and we’re able to look at their assets, look at their pitch deck, look at all the information that they’re offering us, and then we let them know if we want to be an early investor and offer them a pre-sale deal, or if we want to distribute other films that they’ve made in the past.”

Ali says this process of “acquiring content and pushing it out” helps create exposure for short films and web series because they may make it through festival rounds and receive exceptional acclaim, but don’t always get the distribution deal from broadcasters the way a television show might.

“It’s all about exposure, it’s all about showing content, and how people can produce these brilliant stories in these very short episodes, which need not go to some television broadcaster—it can go right to the user,” she says.

From producing to collaborating

As a feminist content production and distribution company, Sisterhood Media created a nonhierarchical structure, with a core team consisting of four members: Ali; Shewit Kalaty, who is the marketing director; Mandeq Hassan, who is responsible for programming and acquisitions; and Zenab Hassan who oversees the digital content. Ali says all four all have a say in decision making because “all our voices matter.”

The team makes decisions about the organization and direction as well as what content they choose to support. One of the main questions they ask every time they watch a movie or receive a pitch is who the audience is. They want to make sure the content they’re sharing reaches a diverse audience.

She says they ask themselves key questions. “Who is going to be brought in with this film? Who are we attracting around the world and around the entire globe? What geographical region do we think that this is going to be most applicable to?”

“What we’re trying to do is not just serve one audience—we’re trying to serve a plethora of audiences and that’s very hard to do.”

To do so, they collaborate with other BIPOC media makers, to achieve the “impact together.”

An example is a three-episode web series Somewhere In, created by Muna Dahir. Set in Scarborough, the series follows two young girls, Amina and Sara, who are going out of town to “save face” with family members. Amina’s mother trusts the two girls with money to deliver to the neighborhood auntie, but the pair get themselves into a sticky situation after losing it along the way.

Sisterhood Media co-produced the series with Badass Muslimah, a digital content creation project that launched in Toronto in 2016. It provides access to skill training through podcasting, filmmaking and web development programs for young Muslim women.

The project, says Ali, proudly, brought young creatives into the process of filmmaking. “Everybody behind the scenes is a racialized person. It was their first opportunity to be on a film set. Everybody who worked on it really saw their impact on what they can make, not only as a personal artist and a creative, but also as a team.

Mandeq Hassan, acquisitions director at Sisterhood Media (photo provided).
Shewit Kalaty, marketing director at Sisterhood Media (photo provided).
Zenab Hassan, digital content manager at Sisterhood Media (Photo provided).

From cultivating to sustaining

This year, Sisterhood Media joined the Canadian Film Centre’s (CFC) Fifth Wave accelerator, created to accelerate and sustain the growth of women-owned and led enterprises in southern Ontario’s digital media sector.

Fifth Wave is the fourth accelerator that Ali has taken part in, but she says the CFC program is unique because of the kinds of conversations it provokes, most notably what it means to build an ethical, sustainable business that puts people at the heart of all its work.

Ali says becoming a business owner was challenging as she saw capitalism as a trap. She wanted to build an organization where members are seen “as people—not as numbers, not as dollar signs.” Fifth Wave helped her meet other women entrepreneurs who share those same basic principles.

“We are focused on our clients and our people first, rather than our shareholders and the dollars that we bring in.” In Fifth Wave, she is able to connect with founders who share the same mindset and values.

Through the program, Ali wants to focus her work in 2021 on making Sisterhood Media a more sustainable enterprise.

“Last year, we were focused on cultivating. This year, we’re [focusing on] sustainability. We’re really focused on perfecting everything that we have started, and then building on it and making it better by building more partnerships and by funneling more money into filmmaker-driven programs.”

 

Racialized creatives looking for a Canadian streaming platform to share their work and distribute their films can submit their idea for consideration to Sisterhood Media here

Publishers Note:  Sisterhood Media  is a participant in Canada’s first feminist accelerator program for women 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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