Too many comedians on TV and radio? Be patient, it may only be a matter of time before they leave mainstream media for good. The trend has intensified during the pandemic, as artists have found refuge on virtual stages, and many of them are now unable to live without the feeling of freedom that these platforms give them.
Don’t look for Les Denis Drolet on television. For the past year, the tandem formed by Sébastien Dubé and Vincent Léonard has been stepping aside from the general public space to devote themselves to their latest baby, the podcast Cream rinse, available almost exclusively on the Patreon platform, which offers a crowdfunding model by subscription. “It’s become Denis’ most important project in their 22-year career,” explains Jeff Bathurst, manager of the duo and executive producer of the podcast. It’s amazing, because precisely, in terms of freedom, there is no censorship. These are the guys who impose their limits on themselves. »
No gags to explain or justify, no list of words to avoid. The Denis Drolet, who have always excelled in a niche and singular humor, find with Cream rinse the playground of their debut, where they have fun with their guests from the famous List A, such as Véronique Cloutier, Marc-André Grondin and Guy A. Lepage, among other personalities. “It has become their TV channel, their own little media, where they are followed by their diehard fans already sold to their style, explains the manager of Denis. From there, creativity has no limits. »
No need to be a star
Motivated by this same desire for freedom of content, comedians who hold a podcast are on the rise. you are fooling me Illegal Sex, Open Torque by Thomas Levac and Stephanie Vandelac, Everybody hate each other by Sam Cyr and Marylene Gendron, Pivot with Pineault animated by Guillaume Pineault or Wagner by Guillaume Wagner are just a few examples of the podcasts produced.
“I don’t need to be a star anymore,” answers Pierre-Bruno Rivard immediately when asked what this newfound freedom in virtual space consists of. The comedian, who graduated from the National School of Humor twelve years ago, self-produces his podcast The sandbox from his apartment in the Hochelaga-Maisonneuve district of Montreal.
“It was born out of a need to make content that I consider relevant, to make doctors and science experts heard. But which broadcaster is going to want to entrust me with this kind of mandate? he asks. Unknown, unsolicited, no experience. How do you expect it to be good, the rare times when I am solicited? It can go around in circles. »
The comedian, who financed his last show, My therapist is dead, from the network woven through its presence on the Web, defends itself from rejecting mainstream media. Rather, he speaks of an observation. “I won’t wait any longer for you guys,” he said, speaking of the various decision-makers in the media circle. Before, I believed that you had to become famous to have the freedom to do what you want; TO DO The sandbox proved me wrong. I am free there. »
The privilege of saying no
His story is reminiscent of that of Erich “Preach” Étienne. Former doorman at the Bordel Comédie Club, now stand up and protege of Mike Ward, he launched with his friend Aba Atlas in 2012. Their channel Aba & Preach has since been on YouTube and their podcasts have accumulated more than 558 million views. “I was tired of not seeing myself on TV,” said the comedian of Haitian origin. I said to myself: What are you doing, really? There’s the Internet, I’m going to put myself in my TV and have the freedom to talk about the subjects that concern me. »
With 1.73 million subscribers on YouTube plus the 1,350 paying subscribers of Aba & Preach on Patreon, we have to admit that the duo fills a need. “I’m not supposed to have the career that I have, which is to be an up-and-coming comedian and have the bank account that I have,” says Erich Preach. My web content allows me to make a good enough living to be able to say no when a big company offers me a project that I have less desire for. »
An example: the ComediHa! Fest-Québec offers him to participate in the gala of his childhood idol Anthony Kavanagh? Preach declines the invitation. “Too many constraints,” he said. A gala number is seven minutes of exclusive material reduced to three during editing, with the frame that comes with a TV broadcast. It’s different when you’re hosting, but for an issue, the views it gives you aren’t worth the work. »
Same story on the side of Pierre-Bruno Rivard. “For the first time, this summer, I refused to participate in a gala festival, he says. I’ve been doing it every year for ten years. I’ve never been accosted on the street like I’ve been since I joined TikTok. »
Fear of risk taking
What constraints do televised galas impose? “Anything that could be interpreted by the producer or broadcaster’s legal department as prejudicial to brands or individuals is discarded, even taking into account the humorous context”, explains Ms.e Louis-Philippe Lampron, full professor of law at Laval University and lawyer specializing in rights and freedoms.
He cites the withdrawal of a number from the Les Olivier gala in 2016. “It was in the early stages of the Mike Ward v. Jérémy Gabriel, he explains. Ward and Guy Nantel had written a number on freedom of expression which was removed from the gala. »
According to Me Lampron, the traditional media spaces, where Les Bleu Poudre and the RBOs of this world once expressed themselves almost without constraint, today fear risk-taking. “I don’t judge my colleagues, who want to protect the interests of their clients. The job of lawyers advising broadcasters or producers is to turn on red lights by reviewing content intended for broadcast, he explains. But in fact, fires, there are not that many. Panic fear of being sued taints their decisions. »
Insults can, for example, be seen as defamation when in fact we are very close to the limit without crossing it.
Freedom on the Web: real or illusory?
Is this so-called freedom so prized by comedians in the virtual world real or just a pipe dream? Does it simply derive from the ability of its platforms to pass under the surveillance radar? “It’s a bit of both,” replies Pierre Trudel, a law professor at the Université de Montréal, a member of the Expert Advisory Group on Online Security commissioned by Heritage Canada to provide advice on the design of a framework legislation and regulations to combat harmful content online.
Before, I believed that you had to become famous to have the freedom to do what you want; Doing The Sandbox proved me wrong. I am free there.
“Radio stations, whether commercial or public, are required to follow strict rules and are subject to direct monitoring by the CRTC,” he explains. Podcasts, on the other hand, are broadcast on virtual platforms that are not very regulated. »
Space is less constraining on certain levels, such as with regard to the use of sacres, which is always limited with traditional broadcasters in certain listening contexts. The fact remains that in Canada, the laws that govern freedom of expression in the Canadian Charter of Rights and Freedoms impose the same limits on everyone. A comedian who would make defamatory remarks would expose himself to sanctions regardless of the forum, the antenna or the bandwidth used.
“It’s clear that these rules exist for everyone, but in certain contexts, such as in a blog or a podcast, they are difficult to apply,” adds Professor Trudel. The wish is not to transform the Web into commercial radio, but to facilitate recourse if a citizen considers himself, for example, discriminated against by homophobic or racist remarks or claims to be the victim of defamation. »
“I would say there’s more freedom in a space like podcasting because there are fewer middlemen,” says Ms.e Lampron. At the same time, it also means that we find ourselves alone in assuming and defending what we say. We can speak of a certain natural self-regulation. »
A bit like factories that set themselves ISO standards that they undertake to respect, Pierre-Bruno Rivard has his own “ISO-PB”. “I make sure that the guest is an authority on the subject matter, that it’s not just anyone,” he says. I have turned down my share of campaigning politicians because I feel I don’t know enough about it to uncover a lack of sincerity or a personal agenda. »
One of the barriers to podcasting freedom remains monetization. On YouTube, for example, the algorithms spot certain words that suggest content that is less in tune with the opinions that advertisers want to associate with. Creators who do commentary, like those at the Aba & Preach channel, need to be creative. “YouTube’s algorithm can recognize thousands of words,” says Erich Preach. We develop a lexicon to blur it, like murder who becomes redrum. »
“Which contradicts the belief that the Internet is not regulated, raises Pierre Trudel. There is a regulatory effect through the algorithm and the monetization conditions, that is to say the requirements of those who buy advertising on the platform. »
The arrival of Patreon
The arrival of Patreon, created in 2013 by musician Jack Conte and developer Sam Yam, changed the situation: fans fund creators directly.
Subscribers/sponsors have access to exclusive content — podcasts, shows, courses, etc. — against the few dollars invested monthly. According to Graphtreon, which compiles and analyzes Patreon campaignsMike Ward wiretapped had reached a total of 7,398 subscribers in less than two years, before making its statistics confidential at the end of 2019.
Nice success, considering that a Patreon subscription, all creators combined, costs between $2 and $10 per month, and can even reach $30 monthly for the most popular creators.
Without necessarily being able to make a living from it, Patreon has become a significant source of income for people like Pierre-Bruno Rivard. “It has become a lever for everything I do,” he says.
According to Graphtreon, the number of active fans has tripled in three years, reaching six million bosses(“patrons” in English). Together, they support the platform’s 210,000 creators, such as Mike Ward, Aba & Preach, Pierre-Bruno Rivard and Les Denis Drolet.
Finally, for the very first time this summer, as part of the Just for Laughs Festival, Mike Ward wiretapped will be recorded at the Bell Center in front of a crowd of over 20,000 spectators. Exceptionally, the episode will not be broadcast live on Patreon and will be heavily sponsored. Like what, on the Web as on TV and in life, freedom is often tinged with compromise.