Discovery joins the quest for justice with the reveal of latest Canadian Original docuseries, FORENSIC FACTOR: A NEW ERA, premiering Friday, Nov. 17 at 9 p.m. ET/6 p.m. PT. The six-episode, one-hour docuseries explores how incredible innovations in forensic science, combined with the expertise of dedicated crime scene investigators work together to uncover the truth. Produced in partnership with Bell Media Studios and Attraction, the updated series traces its DNA to the classic Discovery Original Canadian docuseries FORENSIC FACTOR, which premiered in 2003, and ran for six seasons. New episodes will also be available on CTV.ca and the CTV app each week
Every crime scene tells a story, and woven through each one-hour episode of FORENSIC FACTOR: A NEW ERA are the unique perspectives of forensic experts, and the stories of the victims themselves. As investigators and families search for answers behind the most terrible crimes, forensic specialists hunt for the most crucial evidence and clues, often invisible to many.
Moving beyond the yellow tape, each episode of FORENSIC FACTOR: A NEW ERA explores a different crime scene and reveals how crime scene investigators and determined homicide detectives find, analyze, and interpret the smallest pieces of a new weekly crime scene puzzle, leading to the biggest breaks, all thanks to ground-breaking advances in forensic science.
In association with Discovery, FORENSIC FACTOR: A NEW ERA is produced by Bell Media Studios and Attraction. Bell Media distributes the series internationally. For Attraction Nicole Hamilton and Richard Speer are Executive Producers, Sylvia Wilson is Series Producer.
The explosion of gaming in popular culture is as visible as it is transformative. As joystick adventures captivate global audiences, TV isn’t immune to this magnetic pull. A new trend is dawning, where shows skillfully integrate gaming elements to woo the gaming populace and reinvent storytelling on screen.
Complex, interactive narratives and pixelated charm are jumping out of consoles and into our TV shows. This article pulls back the curtain on this innovative amalgamation, shedding light on how television is leveraging the gaming juggernaut to transform the viewer’s passive gaze into an engaged, interactive experience.
In this article, we explore the intersection of TV and gaming, highlighting how shows are adopting interactive elements to engage audiences in new ways.
The Convergence of Gaming and Television TV and video games, once worlds apart, are merging in exciting ways. Gone are the days of simply watching a show; now, audiences dive into interactive experiences, blurring the lines between passive viewers and active participants. Shows like Las Vegas have pioneered this trend, offering a taste of the casino world’s excitement which is a mix of risk, reward, and raw human emotion.
The popularity of online casinos takes the casino experience from the TV screen to our living rooms. Although you can’t yet join your favourite characters when they visit the casino on screen, you can emulate their experiences without leaving home. It’s another form of entertainment you, as a viewer, can enjoy. The difference is, in the world of online casinos, you’re not just a spectator but the main character. Before getting started spinning the reels, it can help to review a bonus guide that will give you clear insight into the different online casinos available in Canada. There’s no longer a need to travel to a land-based casino or live the casino life second-hand through characters on a screen.
In this changing world of entertainment, audiences aren’t merely observers but active participants. The narrative isn’t just watched; it’s lived, with every twist and turn as unpredictable as a roll of the dice. TV and gaming are intersecting and intertwining, crafting a new narrative landscape where the passive and active merge and where storytelling is a shared journey.
Gaming Elements in TV Shows One of the most enchanting developments in modern television is the adoption of interactive narratives, a leaf borrowed from the lush world of gaming. Shows now invite viewers into a participatory environment where choices aren’t made by characters on the screen but by the audience, instilling a profound sense of agency and immersion. Every decision opens a new chapter, and every choice spins the tale in a new direction, echoing the complex, branching narratives found in video games.
Visually, the influence is just as profound. The complex designs, bright hues, and imaginative landscapes of gaming have begun to color the canvas of television. TV screens are now windows to fantastical worlds rendered with an artistic touch reminiscent of acclaimed video game titles, each frame a masterpiece merging cinematic and gaming artistry.
And at the heart of this confluence lie the characters—richer, deeper, and infinitely more complex. Inspired by the multifaceted personas of the gaming realm, TV shows are crafting characters with depths and arcs that are exploratory, allowing for an evolution that’s as unpredictable as it is captivating. In this intricate dance of narrative, aesthetics, and character depth, television is not just mirroring the gaming evolution but is an active participant, pushing the boundaries of storytelling into uncharted territories.
Gaming Comes to Life on TV A trailblazing example of TV’s embrace of gaming is Netflix’s Black Mirror: Bandersnatch. Not just content to narrate, this interactive film offers a maze of choices, turning viewers into participants. Every decision the viewer makes ricochets through the storyline, taking it on divergent paths and culminating in multiple possible endings. It’s a vivid example of a choose-your-own-adventure experience ported directly onto a television screen, mirroring the decision-based narrative arcs we love in gaming.
Beyond Bandersnatch, several shows have caught the interactive bug. Episodes of You vs. Wild hand the reins of survival decisions to the audience, immersing them in a world where their choices dictate Bear Grylls’ fate in various survival scenarios. Each selection spins the tale in a new direction, illustrating the powerful amalgamation of television and interactive gaming elements.
With these innovative leaps, television is no longer a passive medium. It’s an interactive canvas where pixels and decisions collide to craft narratives that evolve with every viewer’s choice, merging the best of two entertainment realms.
Canadian TV Embraces Gaming And it’s not just Netflix; Canada has been at the forefront of embracing gaming on the small screen. One of the most famous examples comes from video games like “Donkey Kong Country,” “Mega Man,” and “Street Fighter.” These shows have transported the gaming narrative from consoles to TV, introducing them to an entirely new audience.
Canada’s GameTV Network is also a popular destination for both gamers and the general public. While it got its start with casino-based programming, it has branched out to encompass game shows and reality competition series, showcasing a broad spectrum of gaming culture. Given the successes of these shows and the continued growth of the gaming sector, we’re likely to see more Canadian TV shows embracing gaming themes.
The Impact on Audience Engagement Netflix is overflowing with critically acclaimed series, and the integration of gaming elements into TV shows is revolutionizing audience engagement. Viewers are no longer passive observers but active participants immersed in interactive narratives. However, this innovation brings challenges for TV producers, from technical execution to narrative coherence.
Yet, the opportunities are many, including enhanced viewer loyalty and the opening of new storytelling horizons. Looking ahead, we anticipate a surge in technological innovations that will further meld the gaming and television realms, offering audiences stories to watch and worlds to explore and shape, marking a new epoch in entertainment.
After 75 episodes and eight specials, and amassing 12 Canadian Screen Awards, international critical acclaim, a U.S. streaming deal with Hulu, high-profile brand extensions, some beauty celebrity fans, and an official spinoff, Crave’s award-winning original series LETTERKENNY drops its twelfth and final season, on Monday, December 25. The iconic Canadian series is created by, and stars, Jared Keeso, and is produced by New Metric Media in association with Play Fun Games and Crave.
As Crave’s first-ever original series, LETTERKENNY premiered in 2016 as a breakout hit and quickly solidified a loyal fanbase. The series continues to be a top-performer on Crave, and, overall, is the most-streamed Canadian show on the platform for the past several years. The series is based on the internet sensation Letterkenny Problems, a five-part series of shorts, which to date has garnered more than 21 million views.
In Season 12, the small town contends with a comedy night at Modean’s, a country music hit, the Degens’ bad influence, a new nightclub, and an encore at the Ag Hall. And that’s just for starters.
LETTERKENNY is produced by New Metric Media, in association with Play Fun Games and Bell Media, with the participation of Canadian Media Fund, the Northern Ontario Heritage Fund Corporation and the Bell Fund, with the assistance of the Canadian Film or Video Production Tax Credit and Ontario Creates. The series is distributed by New Metric Media. Jared Keeso is executive producer, co-writer, star, and creator. Jacob Tierney is executive producer, director, and co-writer. Mark Montefiore is executive producer and Kara Haflidson is producer for New Metric Media.
Ahead of its Season 2 finale, Crave confirmed today a Season 3 order for its smash-hit original series, SHORESY. Created by and starring Jared Keeso, and produced by New Metric Media in association with Play Fun Games and Crave, the hockey comedy continues to follow the foul-mouthed, chirp-serving, mother-loving, fan-favourite character, Shoresy (Keeso), and the Sudbury Blueberry Bulldogs of the Northern Ontario Senior Hockey Organization (The NOSHO). Production on Season 3 begins in Sudbury, Ont. in November.
Returning cast starring alongside Keeso are: Tasya Teles (THE 100) as Nat; Harlan Blayne Kytwayhat (Prey) as Sanguinet; Blair Lamora (Paranormal Nightshift) as Ziigwan; and Keilani Rose (FLIMSY) as Miigwan. From, Blainville, QC, rapper Jonathan-Ismael Diaby stars as Dolo; and former Montréal Canadien, author, and actor Terry Ryan stars as Hitch. Ryan McDonell (THE CROSSING) stars as Michaels, Max Bouffard (LETTERKENNY) is JJ Frankie JJ, and former Kahnawake Condor and MMA fighter Andrew “The Canon” Antsanen returns as Goody. Legendary all-time tough guy Jon “Nasty” Mirasty, former ‘Canes centre Brandon Nolan, and three time Stanley Cup winner, Jordan Nolan star as Jim, Jim, and Jim, respectively, with Listowel’s Keegan Long as Liam, and North Bay’s Bourke Cazabon as Cory.
Developed by Bell Media for Crave, SHORESY is produced by New Metric Media, in partnership with Play Fun Games in association with Bell Media, with the participation of Canadian Media Fund, the Bell Fund, OMDC Tax Credits, and the Canadian Film or Video Production Tax Credit and the Northern Ontario Heritage Fund, and is distributed by WildBrain, New Metric Media is the exclusive sales agent. Jared Keeso is executive producer, writer, star, and creator. Kaniehtiio Horn is producer. Mark Montefiore and Kara Haflidson are Executive Producers for New Metric Media.
The Writers Guild of Canada (WGC) has released a new Equity, Diversity and Inclusion Report with 2022 data. The initiative is part of the WGC and its Inclusion, Diversity, Equity, and Accessibility (IDEA) Committee’s efforts to work towards addressing issues of historic underrepresentation in Canadian television. (Diversity groups are defined by the WGC as Indigenous, Black, LGBTQ2S, People of Colour, People with Disabilities.)
The new report provides membership data from 2017 to 2022 and includes contract data from 58 live-action and 29 animated series that started production in 2022.
For the first time, this report includes earnings data and also features interviews with members who have participated in training and networking opportunities for diverse writers.
The data shows some marked increases in 2022, including:
The percentage of Indigenous writers and writers with disabilities joining the Guild grew to 7% each, from 5% and 4% in 2021 respectively. The percentage of diverse members joining with intersectional identities has also grown from 12% in 2021 to 17% in 2022.
The percentage of WGC diverse writers who are working has increased steadily from 21% in 2018 to 38% in 2022. The increase is largely explained by a higher participation of writers of colour and Black writers.
Writing credits for People of Colour have increased consistently from 7% to 17% between 2018 and 2022. Similarly, the share of writing credits for Black writers increased from 3% to 9.4% during the same period. In the case of LGBTQ2S screenwriters, writing credits recovered from a steady decrease and now sit at 17%.
Other observations on the 2022 data include:
Across every diversity category, the share of writers earning more than $200,000 is well below the 7.9% of “white, cisgender, heterosexual and non-disabled” (non-diverse) writers in that category.
In animation, there is a significant gap between the compensation of non-diverse and diverse writers. While non-diverse animation writers represent 22.9% of working writers and account for 15.4% of total earnings, diverse animation writers represent 8.6% of working writers but only account for 2.2% of total earnings.
The share of Indigenous writers and writers with disabilities working on TV remains low when compared to population numbers. The percentage of Indigenous writers increased by half a percentage only to 2.5% in 2022. Similarly, the share of writers with disabilities continues to be markedly low (3%).
The full report is now available on the WGC’s website HERE.
The Writers Guild of Canada represents 2,500 professional English-language screenwriters across Canada—the creators of Canadian entertainment enjoyed o
