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Awards, Featured

The Amazing Race Canada, Still Standing and Rise win at Night 1 of the Canadian Screen Awards

Still Standing, The Amazing Race Canada, Mayday, Rise and CTV National News with Lisa LaFlamme were among the winners during Night 1 of the non-televised portion of the Canadian Screen Awards.

Miguel Rivas, of The Comedy Network’s The Beaverton, served as host for the evening, poking fun at The National‘s four-person panel and holding mock auditions for a co-host. Among the finalists? Chef Matty Matheson, The Social‘s Lainey Lui and Peter Mansbridge. One of the most emotional moments of the night followed Viceland’s Rise being awarded Best Documentary Program. Series producer Michelle Latimer tearfully championed Indigenous Peoples and referenced the effects colonization has had on First Nations people in Canada and around the world.

Fifty categories celebrating non-fiction television—including news, sports, factual, reality, lifestyle, talk and children’s programming—were handed out at Toronto’s Westin Harbour Castle during the non-televised event. Karyn Pugliese received the Gordon Sinclair Award for Broadcast Journalism.

Here are the winners in several key categories:

Best News Anchor, Local
Andrew Chang, British Columbia Votes

Best News or Information Program
Terror, Viceland

Best Sports Host
James Duthie, TSN

Best Children’s or Youth Non-Fiction Program or Series
Science Max: Experiments at Large, TVO Kids

Best Variety or Entertainment Special
P.K. Subban: Shots Fired, CBC

Best Writing, Factual
Still Standing, CBC

Best Writing, Lifestyle or Reality/Competition Program or Series
The Amazing Race Canada, CTV

Best Writing, Documentary
Unstoppable: The Fentanyl Epidemic in Canada, CBC

Best Biography or Arts Documentary Program or Series
Rush: Time Stand Still, HBO Canada

Discovery

Best Factual Series
Mayday, Discovery

Best History Documentary Program or Series
The Nature of Things, CBC

Best Documentary Program
Rise, Viceland

Best Host in a Live Program or Series
Rick Mercer, Canada Day 150! From Coast to Coast to Coast

Best Talk Program or Series
The Marilyn Denis Show, CTV

Best Lifestyle Program or Series
Property Brothers, HGTV Canada

Best News or Information Series
The Fifth Estate, CBC

Best Host in a Program or Series
Jonathan Torrens, Your Special Canada

Best Local Newscast
CBC News Vancouver at 6, CBC

Best National Newscast
CTV National News with Lisa LaFlamme, CTV

Best News Anchor, National
Heather Hiscox, CBC News Network with Heather Hiscox

Best Sports Play-by-Play Announcer
Luke Wileman, TSN

Best Sports Program or Series
Aaron Sanchez: Limitless, Sportsnet

Follow the link to the complete list of winners.

Are you happy with the shows and talent who took home hardware tonight? Let me know in the comments below.

 

 

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Featured, Schitt's Creek

Schitt’s Creek: Noah Reid’s Patrick is “simply the best”

Using a song to amp up a scene is tricky business. The wrong one can lead to a disconnect and snap the viewer right out of it. But when it’s done right, it can inspire, create emotion and become something iconic.

Schitt’s Creek did the latter last Tuesday when Patrick (Noah Reid) performed “Simply the Best” to David (Daniel Levy) during an open mic night at Rose Apothecary. The stripped-down, acoustic version of the Tina Turner classic was easily the most talked about scene of Season 4 and elevated Patrick and David’s relationship to something truly special, a fact Reid is still amazed and gratified by a week later.

“It’s wild,” Noah says during a chat on the phone. “I’ve been sort of following it peripherally through family who’ve said, ‘Oh my god, it’s in the iTunes Top 10.’ When we made the song, I was super nervous about it because I knew it had the potential to be a really big moment for both the characters and the audience.” Reid, who released his debut album Songs From A Broken Chair in 2016—and snagged a Canadian Screen Award nomination for Best Original Song for his work in the feature film People Hold On—was skittish about taking Tina Turner’s 1991 smash hit and turning it into a memorable moment for Patrick and David.

“Dan said that the lyrics never get their due because it’s such a pop anthem, so you think of the instrumentation and the chorus,” Reid recalls. He struggled with nailing down the tempo of his arrangement before finding inspiration in the guitar pattern of a tune by Afie Jurvanen (a.k.a. Bahamas) that lifted the song.

Related: CBC renews Schitt’s Creek for Season 5

The tune is the capper to what has been the wonderful growth of a relationship. Rather than the mean-spirited mockery that has become a trope of primetime comedies, Levy and his team have created something special. Yes, Patrick teases David and points at his partner’s neuroses (to the delight of Stevie and viewers), but it’s done gently and out of love.

Reid is mum regarding questions about whether Patrick will perform another song for David in the coming weeks, or what’s in store for the couple as Season 4 winds down, but was quick to answer if there was a song that connected a scene the way “Simply the Best” has with Schitt’s Creek viewers.

“The benchmark for me is probably Glen Hansard in Once,” he says. “The way that the songs were woven in and were such an integral part of the story. He’s such an incredible musician and singer and Markéta Irglová, who plays the pianist in that film, they had a really amazing connection too.”

Schitt’s Creek airs Tuesdays at 9 p.m. on CBC.

You can purchase “Simply the Best” via iTunes or stream on Spotify. All proceeds from the downloads go directly to LGBT Youth Line in Canada and The Trevor Project in the U.S.

Image courtesy of CBC.

 

 

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Featured, Murdoch Mysteries

Murdoch Mysteries: Author Maureen Jennings discusses “Game of Kings” and her latest Murdoch novel

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Spoiler alert! Do not read this until you have watched the latest episode of Murdoch Mysteries, “Game of Kings.”

It’s always a pleasure to speak to author Maureen Jennings. After all, she created the character of William Murdoch that we’ve enjoyed first in her novels and then on television. Monday’s newest episode, “Game of Kings,” contained several noteworthy moments and storylines, among them a history of Poland, the intricacies of chess and how everyone in Station House No. 4 knows Julia is pregnant.

I spoke to Jennings about writing Monday’s instalment and what fans can expect from her latest Murdoch novel, Let Darkness Bury the Dead.

This was a fascinating episode that contained a lot of Polish history, including the hussars—the winged calvary—and the coronation sword, Szczerbiec. Where did the inspiration for this episode come about?
Maureen Jennings: I was invited to Poland as part of a writer’s festival, so I learned a little bit of the language. Then I came across the story of the husaria, the winged horsemen, and the ceremonial sword. I thought it all was a great possibility for an episode. Then I came upon the real story of a chess tournament that had happened in the United States—I think it was in 1904—and thought it was a great combination, especially these days, to have an international chess tournament and have all of this other nationalism going on with the Polish husaria. At the time, Poland was occupied by Russia and it was a difficult time. Through this tournament, some of these ancient conflicts would show themselves.

It’s amazing that, as reflected in this episode, the coronation sword really was brought to Canada for safe-keeping, though that was during the Second World War.
All of that came afterwards, so I thought it was great. I fiddled a little bit but it was not at all implausible that there would be this sword here. It was a great connection.

How did you go about fleshing out the chess storyline, regarding Crabtree, Higgins, Watts and Nina?
Initially, I pitched a blindfold chess tournament that I got very attached to. Again, this was all based on true events. One man played, I think, 22 boards at once. He had his back to the boards and had to keep all of those games in his mind which I think is phenomenal. But when we talked about it, Peter thought it would be a bit difficult to do it that way and that the more traditional tournament that ended up in the show would be a bit easier to film. Chess is a funny game because it’s very quiet and formalized conflict and I really enjoyed trying to depict that.

The history of chess goes back far in Canadian history. At least as far back as 1872 with The Chess Federation of Canada.
I’m always finding out interesting information like that. I like chess and I did a lot of study on it for this episode. I was so impressed with these chess geniuses.

There was that wonderful moment when it was revealed that Nina and Karina were the truly skilled chess players and the men were just making the moves as instructed.
Yes. Again, women were not playing as much but there was a women’s league and they were fantastic as well.

How does it work with regard to which episode you’ll write in a season?
I’ll present four or five stories that I’m interested in, we’ll talk about it and they’ll say, ‘Why don’t you work on this one?’ They’re all stories that I’m interested in which I’m lucky to have. No one just tosses me a story and says, ‘Write a script.’

What has been the most challenging transition when you go from writing a novel to writing a television script?
I had to constantly be aware of my words. In the beginning, Paul Aitken was always telling me I was writing too many words. I had to really keep it in mind that this was a visual medium and to cut that down. That wasn’t so hard. What was challenging and fun to learn more of the mechanics of a TV show. It’s not just the script as such. In the first episode I wrote, for example, that there was a big thunderstorm. That’s not a big deal for me—I just write ‘big thunderstorm’—but in fact on a set, rain and snow are very difficult to do. Nobody wants to do rain because you ruin the cameras, never mind the cast. It’s things like that that I had to think through.

It was revealed, in very funny fashion, that Julia is pregnant and everyone knows. How do you feel about her being pregnant?
I like that thread. It’s been going on for a while and set up quite well.

Finally, let’s discuss your latest novel Let Darkness Bury the Dead. This is your first Murdoch novel in years. What’s it about?
I advanced the story to 1917 and it turned out to be a fabulously interesting time period. I often say that sometimes writing a novel changes your life and I think that’s the case with this. It was so amazing to study that time period. Because it’s 1917, Murdoch is 56 so I had to think about that. Is he physically different? What has happened to him in that amount of time? That was a bit easier than I thought, but it’s a bit like reconnecting with an old friend. I liked going back to Toronto because it had changed but not dramatically so. I’ve currently just done another jump to 1936 and that is very, very different because it’s post-War and things were very different in Toronto after World War I.

Get the latest news on Maureen Jennings from her website. What did you think of “Game of Kings”? Let me know in the comments below!

Murdoch Mysteries airs Mondays at 8 p.m. on CBC.

 

 

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Awards, Featured, Industry News

Canadian Screen Awards’ Beth Janson: “The television industry is turning out some of the best content that we’ve seen”

Now that those pesky Oscars are over and done with, we’re jazzed for the Canadian Screen Awards. Airing this coming Sunday on CBC—and with three non-broadcast award nights this week—the Academy of Canadian Cinema and Television celebrates homegrown talent and projects on the big and small screen.

This country has a lot to celebrate. From gripping limited-run series like Alias Grace, Cardinal and The Disappearance to groundbreaking dramas in Pure, 19-2, Mary Kills People and Anne and unique comedies in Kim’s Convenience, Workin’ Moms and Letterkenny, Canada’s content creators are making truly must-see TV.

Beth Janson, CEO of the Academy of Canadian Cinema and Television, thinks so too. With the CSAs just days away, we spoke to Janson about the health of the TV industry, our programming, how to get up and close and personal with your favourite stars and how you can access red carpet coverage on Sunday night.

Is this the Golden Age of Canadian television that so many talk about?
Beth Janson: Yes. The television industry is turning out some of the best content that we’ve seen. It’s extremely diverse which is, to me, reflective of a very healthy industry. We don’t just have a lot of procedurals. We don’t just have a lot of typical sitcoms. It’s really a mix. And I should say that isn’t reflected in our nominations this year just because of where the eligibility period falls, but for the first time we’re seeing a Canadian intellectual property in The Launch being developed here, repackaged and sold overseas. That, to me, is a huge shift and a validation of what we’re going here with our Canadian ideas and our Canadian voices can travel.

Where do you stand on Netflix investing $500 million into Canadian productions?
Netflix made a business decision which I think is the thing that gets lost in the conversation. They see how talented our craftspeople are here. They see how interesting the voices are here. They’re investing in that. I do believe that it’s not related to some sort of deal regarding whether they should be taxed or not. I think that separate and apart from that they see this is a business opportunity, and a way to get in on the ground level with really talented creators too. I think it’s a wakeup call for how we’re thinking about Canadian content. I think that will put some pressure on the way we’ve always done things. I’m ultimately optimistic about it.

Let’s discuss the Best Limited Series or Program at this year’s Canadian Screen Awards. All are deserving and nominees like Cardinal, The Disappearance and Alias Grace are deserving of being on a cable channel like HBO, Showtime or Starz in the U.S. How exciting is it to have projects like these made in this country?
It’s incredibly exciting. Again, I think it reiterates this idea that we create stuff that the world is interested in. It’s not just for our market. In particular, the rise of the showrunner has had a really positive impact in what we’re doing in this country. People who have a very specific point of view. The model is different in that you’re creating a six-part series. There isn’t an expectation that you have to get your second season, sort of? I don’t know if maybe that has something to do with it. It feels more contained. It feels more film-like, so artistic choices are prized in a way that might make a 13-part series producer nervous for whatever reason. I think there are a few factors contributing to the really interesting rise of this format.

The Canadian Screen Awards gala is coming this Sunday on CBC. For those that don’t know: how are the nominees in each category selected?
It depends on the category. The majority of the nominees are selected by membership vote by the branch that you’re in, like the craft categories or the television categories. The editing branch nominates the editing nominees, etc. We still have a few television categories that are selected by a jury, a jury of professionals—136 in TV and digital media and 28 in film—from across the country that come together. And then all the nominees are voted on the membership as a whole.

I’m thrilled that Jonny Harris and Emma Hunter are sharing co-hosting duties on Sunday. How did you come to the decision to have them do it?
I think it’s fun to have co-hosts because there is the opportunity for them to play off each other. There is more opportunity for comedy and they can support each other in the duties. I thought it would make for fun, spontaneous moments. I just wanted to see us shine a spotlight on some of the extremely talented comedians that we have up here. We do comedy better than most people in the world and I wanted them to show what Canada can do.

I wish no ill will on a Howie Mandel or Norm Macdonald, but I think keeping to people who are currently working in this country was the right move.
There was always a fear that you needed someone like that to drive ratings and this is the risk we’re taking. I’m very optimistic that we’ll see very positive results.

The Family Fan Day, where fans of Canadian television can meet their favourite stars this Saturday, is taking place at the Sony Centre for the second year in a row. That venue is so great because it offers fans a more personal experience than at the Eaton Centre.
Yes. The thing about the Eaton Centre is you have a lot of foot traffic and accidental engagement. Again, I said we don’t need that. What we’re doing here is worthy of the trip and it was a massive success. We have a lot of great, big names coming this year. We’re building a stage so we’re going to have performances this year. It will be really great.

You’ve said several times that this country is worthy of celebrating its talent. I agree. I’ve been on the Canadian networks to broadcast the Canadian Screen Awards red carpet to showcase our star system and I’m disappointed they still won’t do it.
The Academy hasn’t been able to sell the idea to anyone, basically. So we just decided to do it ourselves. We will have a correspondent on the red carpet and will be live-streaming that on our Facebook page. Some of the most fun at an awards show is talking to people on the red carpet.

The Canadian Screen Awards gala airs Sunday at 8 p.m. on CBC.

Images courtesy of the Academy of Canadian Cinema and Television.

 

 

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Caught, Featured

Caught: Charlotte Sullivan teases Jennifer’s tragic twist

With the first episode of Caught under our wide, leather belts—catch up on “The Break” here—Monday night’s new instalment “Old Wounds” promises to dig more into Slaney (Allan Hawco) and Hearn’s (Eric Johnson) past. I can’t help but wonder if that will include Jennifer.

As played by Charlotte Sullivan (Rookie Blue, Mary Kills People), viewers have gotten a taste of what Jennifer is all about. She has a daughter Slaney thinks of as his own even though the infant is not his. And Jennifer hates the fact Slaney got roped into Hearn’s drug boat purchase. Of course, she had a right to be upset; Slaney got caught and put into prison.

I spoke to Sullivan during a break in filming last summer in downtown Hamilton, Ont., about Caught, adapting a novel for the screen and saying goodbye when a project wraps production.

Had you worked with Allan Hawco on anything before? Did you ever guest-star in an episode of Republic of Doyle?
Charlotte Sullivan: No, I had never met him. He’s so sweet.

What can you tell me about Jennifer?
It’s a bit of a tragic story. Without giving away too much—because there is a major twist coming—she has a secret and she has been keeping it from Slaney to keep him. And she has to make a choice between Slaney and her daughter. And you know how that’s going to go. It’s a horrible decision. They have a very passionate love affair that’s very intense and I think it’s based solely on tragedy.

What were your thoughts on this miniseries after reading the book?
It’s a little bit different. There’s a lot of pressure to take a book that is so critically acclaimed and then turn it into a TV or film project. I always say that it’s a bit of a poison chalice because it’s an honour to get to do it, but there will be people who are pissed off.

What was your takeaway of the story after reading Lisa Moore’s novel?
If there is a book, I always want to read it before I watch the film. I love to see how close they got it, or how off the mark they were. You also pick up on little nuances that maybe you wouldn’t have picked up on before. But it is tough to take something like this but from what I’ve seen of the esthetic so far, it’s going to be stunning. It’s the 70s and you get to play with that time period. I just love esthetics. I mean, look at these clothes. We went to a couple of stores and didn’t find Jennifer in there. And then we went to a vintage store and said, ‘Jennifer is in there!’ That’s the creative collaboration.

Did you audition for the role of Jennifer?
Oh yeah. I put myself on tape and sent it in. I was in the middle of shooting something else and I needed the time to take away from that before I could send them a tape because I get so emotionally caught up in [the current role].

Does a short-run project like Caught excite you because it’s not an 18-episode season?
I find it kind of tragic, actually. Just because I don’t want it to end. Even with the longer seasons, you’d be amazed at how fast they go. Filming is tragic for actors because you’ve built your own community and connection with people and it’s wonderful and magical. And then it completely dissipates. I actually go through a little bit of depression when I’ve had a really great experience. I come home and I’m like, ‘Ah, that was so beautiful and lovely.’ And you feel so lucky because you were able to do it. After Rookie Blue it took me a month to get over it. I just moped around.

Caught airs Mondays at 9 p.m. on CBC.

Image courtesy of CBC.

 

 

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