From Heather M. of The Televixen:
Link: Steve Byers talks Workin’ Moms Season 4
“It’s a comedy that rides the edges of wanting to be a dramedy. There are some really interesting dramatic performances within the comedy.” Continue reading.
From Sally Cole of The Guardian:
Link: Kensington, P.E.I. native thrilled to play principal character in CBC’s Diggstown
When P.E.I. audiences sit down to watch the season two premiere of CBC’s Diggstown on March 4, they will see a familiar face. Continue reading.Â
From Bridget Liszewski of The TV Junkies:
Link: Diggstown: Vinessa Antoine on Marcie’s continued fight
“This season feels like a continuation of everything that we’d been working on in Season 1. It almost feels like Season 2 is a part of Season 1 in some regards. It’s been really nice.” Continue reading.
From Jeevan Brar of The TV Watercooler:
Link: Exclusive Interview: Diggstown’s Vinessa Antoine
“I was really interested in telling stories from that narrative of a black woman who lived in Canada. We hadn’t really seen that before. Especially one from Nova Scotia.” Continue reading.
From Egbert Gaye of Montreal Community Contact:
Link: Montreal-born Shailene Garnett big on CBC’s Diggstown
“I’m absolutely proud to be part of a show that features the first Black female lead on prime time television in Canada.” Continue reading.
The first minutes of Diggstown‘s second season debut will leave you on the edge of your seat. As “Amazing Race” swells, a woman’s body is thrown through the air in a slow-motion dance that ends in tragedy. It’s a shocking return for the CBC legal drama.
Returning Wednesday at 8 p.m., Diggstown follows lawyer Marcie Diggs (Vinessa Antoine) and the team at Halifax Legal Aid, lead by Colleen MacDonnell (Natasha Henstridge). Fellow lawyers include Pam MacLean (Stacey Farber), Reggie Thompson (C. David Johnson), Doug Paul (Brandon Oakes) and Iris Beals (Shailene Garnett).
We spoke to creator Floyd Kane about those emotionally draining opening moments.
One of the things that have set Diggstown apart for me is the dialogue. I’ve listened to so many shows where the dialogue between characters seems really forced and Diggstown doesn’t feel like that. Another CBC series, Coroner, feels natural as well. Is that hard to write dialogue to make it sound natural?
Floyd Kane: It’s very hard, but I give a lot of credit to our actors, they kind of put a little bit of their own dust on it. But for me, it’s always interesting because when I’m trying to write, especially for communities that I don’t know, you’re always trying to get the voice in your head. That’s the thing that it’s the most challenging part is just making sure that you’ve got that voice in your head properly.
Before we talk about Season 2, let’s go back a bit into Season 1. Were there some takeaways for you, things that worked in Season 1, things that maybe you thought you could have done a little bit better moving into Season 2?
FK: Definitely. I think that every season of the show you’re learning something more. I think in the first season you’re learning certain things like what actors could handle what. Who can you give more to? These are all things that come up.  Our show is a procedural and in the first season, there were very few continuing elements. And so this season what we did is we incorporated some continuing storylines. Viewers want a contained story, but they also want to be able to get some bits of character that they can pull on too.
It would appear that in the very first episode you hint at what may be a season-long story with Avery being handled the case and taking out the photo of Marcie in there. I’m assuming that’s going to last more than a couple of episodes.Â
FK: For sure. Episode 4 of Season 2 is actually a big episode for Marcie and Avery and Pam in terms of their relationship to one another.
You start out the season in slow motion, with an accident and ‘Amazing Grace’ being played. It’s very effective. Why did you decide to start off like that?
FK: We had written … I think there was a full-blown sequence involving cars and kids crossing the street, a high-speed chase. We are not a $4 million show. I sat with the director and we started noodling, ‘Well how do we do this?’ And he had an idea and then I kind of said, ‘Well something I would really want us to try to do, and see if it works, is play that from the point of view of the person who’s been hit by the car and have them falling through the air, and we’re seeing what they’re seeing. That’s where that came from. It just was really trying to figure out, ‘What’s the cool visual way to stage that?’
It’s interesting to have the police officer be Asian and being defended by Marci because you were able to have her community turn against her. Was that always the way that you wanted to go for that main storyline?
FK: Here’s where that all came from. We wanted to do a cop killing involving a black person this season. We had written on the board, it was going to be a white woman shooting an unarmed black person. And we knew that we wanted it to be a single mom who was killed. I watch a lot of television and I’m like, every show is doing the black person being killed by a white cop.
I don’t want to do this. There has to be a different way. And that’s when we sat in the writing room and it was like, ‘OK, it’s not going to be a shooting, it’s going to be a high-speed chase and they’re going to kill this black woman. That was where that came from. And then, I wanted the cop to the Asian because I just wanted to have that conversation. I want people, when they watch the episode, to think about the relationship that exists between the black communities in this country and the Asian communities in this country. I think these are communities that don’t necessarily talk as much as they should.
What type of writer are you? Are you the type of writer that likes to be in a room quiet and quietly when you’re writing? Do you prefer a coffee shop with a lot of noise around you?Â
FK: I love the coffee shop. My wife says I have undiagnosed ADHD so I have a hard time when I’m alone, getting down to brass tacks with the writing. But if I’m in a coffee shop … because I have all of this noise around me, and I have my headphones in so I’m listening to a podcast or something. I can just like blaze through. That’s how I work.
Diggstown airs Wednesdays at 8 p.m. on CBC.
Images courtesy of CBC.
From a media release:
New participants. New Paralympians. New mindset. AMI is proud to announce Season three of Mind Set Go returns Wednesday, April 1, at 8 p.m. Eastern to AMI-tv.
An Anaïd and AMI production in partnership with the Canadian Paralympic Committee, Mind Set Go‘s newest eight episodes feature Integrated Described Video ensuring they are accessible to viewers who are blind or partially sighted.
The third season of Mind Set Go follows eight Canadians living with a disability, debilitating injury or chronic pain as they transform their physical, mental and emotional health over a 90-day journey of body, mind and soul. As previously announced, lead expert Stephanie Dixon—a 19-time Paralympic medalist—and fellow Paralympians provide encouragement, insight and advice to help the participants face their biggest physical and emotional obstacles heads-on.
From legal blindness, obesity and high blood pressure to neurological disease, Season three of Mind Set Go delves deep into understanding how negative sociological and psychological coping behaviours impact the participants’ health.
Each one-hour episode begins with a participant’s backstory and their struggles to adopt fitness activities while also working on their spiritual well-being. Each participant is there for a reason—whether it’s a need to build strength, gain independence or overcome feelings of low self-worth, they are all uniquely positioned to make a positive change to achieve optimal health. To bookend their journey, each sets a physically demanding goal to illustrate how their lives and attitudes have progressed after three months.
The Paralympians and athletes joining Stephanie Dixon include:
Season three of Mind Set Go premieres Wednesday, April 1, at 8 p.m. Eastern on AMI-tv. The complete first two seasons of Mind Set Go are available to stream online at AMI.ca or on the AMI-tv App.
The series is developed and produced by Anaïd Productions in association with Accessible Media Inc., with the participation of the Canadian Paralympic Committee, Canada Media Fund, Rogers Telefund, CHEK-TV and the Province of British Columbia Film Incentive BC. Assistance was also provided by the Canadian Film or Video Production Tax Credit.
Virginia Rankin has executive-produced some of the most compelling series in Canadian television. From 19-2 to Bad Blood and This Life she, and the folks at Sphère Média Plus, have brought unique characters and compelling stories to primetime TV.
The latest is Transplant. Airing Wednesdays at 9 p.m. ET/PT on CTV, Rankin’s newest project debuted to strong ratings in Canada. Starring Hamza Haq as Dr. Bashir “Bash†Hamed—a Syrian doctor with battle-tested skills in emergency medicine—it appears she’s got another success on her hands.
We spoke to Virginia Rankin about how Transplant was created, and how the TV market has changed for a company like Sphère Média Plus.
Take me back to the beginning. How did Transplant come about?
Virginia Rankin: I work very closely with Tara Woodbury, who’s our head of development, and Tara really wanted to do something around immigration and refugees. Her family, her extended family, sponsors a Sudanese refugee, so she has firsthand experience with it and so she wanted to do something around that. And my experience, in 20 years of television, is that it’s incredibly hard to tell those stories because mainstream networks are like, ‘Ah, it sounds like an issue. We don’t do issues.’ So, I sort of a little hesitant, but she was really passionate about it. And at first, we were bouncing around ideas like rom-coms and comedies and this kind of thing.
At the same time, we knew that [CTV] was looking for a medical show to replace Saving Hope. And we also knew that we wanted to work with Joseph Kay. I had had a great experience working with him on This Life. We sort of cornered him. We all kind of sat around and threw ideas around and then one night, in the middle of the night, they kind of all came together and the title Transplant came to me and that was some debate about whether it should be The Transplant, by the way, or Transplant. But for me, it was just Transplant and I saw the poster and on the poster was Hamza Haq.
We knew from working with him what a great guy he was and that he’s the full hero package. He’s charismatic, he’s handsome as anything, he’s got the acting chops and he’s a wonderful human being. My job was done and then it was over to Joe and Joe just took those simple elements and he went away and he did a lot of deep diving, a lot of research and he came back and he pitched us this beautiful story of Bash and his sister Amira as Syrian refugees and their new lives in Canada.
It was really all created by Joseph.
Just to clarify, Hamza was not attached. We didn’t say it has to be this guy and we hadn’t attached him in any way. We actually went through a full audition process before we attached him, but he did come on as a consultant. So he read the draft and gave Joe his thoughts.
He actually had to audition and we did audition a number of Syrian actors. We looked quite extensively at Arab actors. And when it came down to it, he was still the guy who we really thought could bring an audience to the show.
What is it about Joseph Kay that ticks the boxes when it comes to a showrunner?
VR: It’s how seriously he takes his job. It’s the research that he does. He has to really know his characters in a deep way. And he does that. He does that work. He’s a wonderful collaborator. I’ve worked on two shows with him now and I just love the creative conversation with him and how he listens and he thinks and he takes everything on board. And then he comes out with beautiful work. So, I can’t say enough good things about working with him.
As you said, Hamza is fantastic. You can’t help but cheer for this guy.
VR: He’s a leading man. He’s Omar Sharif and you don’t see that that often either. And frankly, I think we’re incredibly lucky that we kind of discovered him when we did. I mean, he already had it long CV, but certainly, this is his first major, major leading role. And I feel like a year or two from now we wouldn’t have been able to get him. So, I feel like he’s going to break out. But luckily for us, he loves the show. He’s really, really, really passionate about it and he works so hard and put so much of his heart and soul into it.
When you see NBCUniversal International Studios attached to this, I can’t help but think about the way that the market has changed and how it’s become truly international. As a producer, has there been a seismic shift in the way that you go about making television shows here in this country and how you shop them around?
VR: It’s interesting. It is quite different working with NBC than it has been working with the other international distributors we’ve worked with in the past. NBC sees itself as a studio. We don’t have a studio system in Canada. In Canada, we, the production company, sees ourselves as a studio because we own the copyright and the cashflow and we do all that stuff. But NBC does see themselves more like a studio. Their participation is on a level that they’ve earned that. And so they are much more actively involved than the experience I’ve had with other international distributors, which is great because you do want your show to sell around the world and they obviously know how to do that. So, we really appreciate their perspective and we really hope that the show does succeed in significant markets around the world.
What can you say about Bash’s journey through the first season of the show?
VR: The journey of Bash is, to a certain extent, to allow himself to release some of his secrets because some of his secrets are kind of killing him. He’s carrying guilt and trauma as any refugee will have, any survivor will have. And he’s sharing those things and he perhaps needs to share them more for his own sake, for his own survival. So that is his character journey, which is to learn to let some of those secrets go.
The first episode ends with Bash sitting down with Jed Bishop and Jed saying, ‘Let’s have that job interview over again.’ Is this going to be a mentor-mentee type of relationship, a father-son relationship between these two?
VR: Yes, yes, absolutely. There’s the father-son dynamic there and like any father-son or parental relationship, it’s not always nice. It’s not always pretty. So on both sides, there’s rebellion from the son figure and there are disappointments from the father figure, it’s all of those variations of the father-son relationship.
Transplant airs Wednesdays at 9 p.m. ET/PT on CTV.
Images courtesy of Bell Media.
