Super Channel original Slasher begins production; casting announced

From a media release:

Super Channel and Shaftesbury today announced casting and start of production for Slasher, an eight episode, one-hour psychological thriller series (also airing on Chiller in the U.S.). Katie McGrath (Jurassic World, Dracula, Merlin) stars as Sarah Bennett, a young woman who returns to the small town where she was born, only to find herself the centerpiece in a series of horrifying copycat murders based on the widely known, grisly killings of her parents. As the murders escalate, long-buried secrets are revealed, making everyone around her a suspect…or a victim. Sarah finds herself questioning everything and everyone around her, including her husband Dylan (Brandon Jay McLaren, Graceland, The Killing), her grandmother Brenda Merritt (Wendy Crewson, Saving Hope, Revenge), family friend Cam Henry (Steve Byers, The Man in the High Castle) and the town’s police chief, Iain Vaughn (Dean McDermott, Ecstasy, CSI).

Slasher will be filmed in Sudbury, Parry Sound and Sault Ste. Marie, Ontario until October 2015. The series will premiere in 2016.

Additional cast include Mary Walsh (This Hour Has 22 Minutes), Enuka Okuma (Rookie Blue),Erin Karpluk (Being Erica), Patrick Garrow (Hannibal, Bitten), Christopher Jacot (Degrassi: The Next Generation), Mayko Nguyen (Defiance, Cracked), Rob Stewart (Killjoys, Suits), Hannah Endicott-Douglas (Casino Jack), Shawn Ahmed (MsLabelled, Paranormal Investigators), Jessica Sipos (Dark Matter), Jefferson Brown (Rookie Blue, Degrassi: The Next Generation), Mark Ghanimé (Helix), Dylan Taylor (The Lizzie Borden Chronicles, Covert Affairs), Booth Savage (Mr. D.), Victoria Snow (Cra$h & Burn), Sabrina Grdevich (Skins) and Rainbow Sun Francks (The Listener).

Developed and produced by Shaftesbury in association with Super Channel and Chiller, Slasher is written and created by Aaron Martin (Killjoys, Being Erica) and directed by Craig David Wallace (Todd and the Book of Pure Evil). Aaron Martin, Christina Jennings and Scott Garvieare executive producers. Casting by Stephanie Gorin. Content Media Corporation is the distributor. Slasher is funded with the participation of the COGECO Program Development Fund.

 

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Preview: Six pictures teasing Wednesday’s Rookie Blue finale

This is it, Rookie Blue fans, but will McNally get to the church on time to say her vows to Sam? And who’s staying—or leaving—15 Division?

Here’s the official episode description for Wednesday’s Season 6 finale, “74 Epiphanies”:

“With the 15 Division restructuring looming, Andy and Sam’s wedding comes just in time for the gang to celebrate one last hurrah. But when Andy is taken off-course by a hitchhiker and then stranded on the side of a dead-end road with a dying man, she finds herself with no way to get help – or let Sam know she hasn’t bailed. Will she save the man’s life? Will she make it to her wedding?”

Here’s a handful of images to get you primed!

Rookie_Blue1

Rookie Blue‘s season finale airs Wednesday at 10 p.m. ET/PT on Global.

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He Said/She Said: Does the CBC need fixing?

Join Greg and Diane every Monday as we debate what’s on our minds. This week, we comment on the Senate Standing Committee on Transport and Communications’ report on how the CBC can succeed, titled “Time for Change: The CBC/Radio-Canada in the Twenty-first Century.”

He Said:

First of all, I’d suggest everyone read Kelly Lynne Ashton’s Wonk Report, explaining some of the document’s more interesting points. I totally agree with Kelly Lynne’s assertion that the report “seems mired in the Nineteenth Century,” or at the very least from before the CBC held its upfront presentation earlier this year.

If the members of the senate had been paying attention (or had been invited to that event) they would have seen and heard executive vice-president Heather Conway announce that, because of massive cuts internally and losing the NHL broadcast rights, they were already on the road to addressing challenges.

The senate report urges the public broadcaster to “emphasize Canadian artists and cultural events such as the Royal Winnipeg Ballet, the Toronto Symphony Orchestra … and the Orchestra symphony de Montreal.” Already on the books for the 2015-16 season in that category? Past CBC programming in The Canadian Country Music Association Awards, The CBC Massey Lectures, The Scotiabank Giller Prize and Canadian Screen Awards. The network’s newest CBC Arts strand will spotlight homegrown artists and musicians through series like Crash Gallery and Exhibitionists. The senate urges the CBC to air more “Interuniversity women’s and men’s sports, minor league sports, etc.” Do the Pan Am and Parapan Am Games fall under the “etc.” in the report? If so, they have that covered too.

I’m not saying the CBC is already doing all it needs to, but they’re clearly already a bit ahead of what the senate is proposing.

Recommendation 18 suggests “CBC/Radio-Canada focus on showing high-quality programs that are unlikely to be offered by commercial broadcasters,” and that was a bit of a head-scratcher. Does high-quality mean “done with a bigger budget,” using the separate “super-fund” proposed in another section of the report, or does it mean the arts programming already mentioned? I’d love to sit the members of the group down to hear what shows they’d like to see on the CBC. What would their network pitches be for possible comedy and drama projects that are different from what CTV, Global and City broadcast?

Does the CBC need fixing? Absolutely. But with the current programming lineup they have, and the new stuff planned for 2015-16, I think they’re on the right track. Do you?

She Said:

I look forward to the CBC’s upcoming report “Time for Change: The Senate in the Twenty-first Century — and I hope it’s one blank page.  

The Senate weighing in on the minutia of how our public broadcaster should adapt is possibly funnier than anything on CBC right now. And Still Standing is pretty darn funny.

The highlights of that Senate report in addition to Art Eggleton’s minority report issued shortly afterwards could be compiled into a volume called “Everything That’s Ever Been Said About How to Fix the CBC Since the Dawn of Time. ” So, not super helpful at charting a new course, Senate. 

And as Greg points out, some of the recommendations are already included in CBC’s five year strategic plan released this year: “Everyone. Every way.”  Which reminds me of the feeling I have any time I hear people’s grand plans to save the CBC: it can’t be everything to everyone, but it has to be everything to everyone.

I have my own plan to fix the CBC, but unlike the Senate I don’t think I know enough about the broadcast industry to believe I can offer detailed instructions. My report would be short: give the CBC all the money. Fund it up the wazoo with my tax money or a license fee like the BBC. Quit dragging the private networks kicking and screaming to the CanCon trough, make them pay into something like the Canadian Media Fund — or don’t, but then don’t provide them any sort of industry protection — and use all the money for CBC programming. I don’t care about the details. Just fund the CBC at least to the average level of other Western nations’ public broadcasters.

And don’t put any money toward a Senate that writes irrelevant reports and recommends Reach for the Top as the saviour of public broadcasting. Give that funding to the CBC, too.

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Link: Rookie Blue’s Charlotte Sullivan on Gail’s “Heartbreaking” season & future

From Bridget Liszewski of The TV Junkies:

Rookie Blue’s Charlotte Sullivan on Gail’s “Heartbreaking” season & future
“I really admire the way they handled the adoption storyline. It wasn’t just one episode but was carried out throughout the whole season. I’ve had friends in my life who have adopted and it’s just weird because it’s not just ‘Oh you want to adopt a child? You get one next week.’ It doesn’t work like that.” Continue reading.

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Link: Online presence key to Degrassi’s evolution and survival

From Bethonie Butler of The Washington Post:

Online presence key to Degrassi’s evolution and survival
To date, Degrassi has produced more than 100 original scripted webisodes, according to the franchise’s recently relaunched website, which chronicles its 35-year history. For Stohn and Schuyler, a home on Netflix brings that history full circle.

“For the past few years we’ve realized the teen audience is, more and more, leaving linear television and moving online, and it was our dream because we wanted to reach the teen audience and we wanted to reach them in the digital space,” Stohn said. Continue reading.

 

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