This newest season of MasterChef Canada (Season 7) is dubbed “Back to Win.” It’s pretty self-explanatory—past competitors have returned to the kitchen in a bid to capture the title—and I give credit to Proper Television for choosing worthy and interesting home cooks to do it.
From runner-ups like Jeremy, Thea and Andre, to personalities like Barrie and April Lee, this group deserved another shot and got it on Sunday night. It was great to see them back in the shiny stadium alongside judges Micheal Bonacini, Alvin Leung and Claudio Aprile.
The first few minutes of Sunday’s return was spent catching up with the 12 home cooks and what they’ve been up to. Jeremy opened a catering company, Thea does recipe development, Marissa is seeking a fresh start, Andrew runs a restaurant, Jen attended culinary school, Christopher had to close his cafe due to the pandemic, Andre has been a frontline worker cleaning operating rooms, and Mai started a dumpling business.
All want to take the title they feel they should have won the first time around and pocketed $100,000.
Not content with the usual challenges, Chef Michael warned the home cooks that the tests would be tougher than ever. That began right away, with the Mystery Box Challenge, which was the sole focus of Sunday’s instalment.
Under each wooden crate was the worst dish each home cook had prepared on MasterChef Canada, and they were tasked with making it a winner. Not only that, but at least one home cook would be eliminated from the competition. So yeah, the stakes were higher.
For April Lee, that meant re-jigging her disastrous piña colada dessert into a mousse; for Andrew is was turning a horrible soft-poached egg into shakshouka; for Christopher, it was transforming ground pork into dim sum; and for Marissa, re-working octopus and pork into a stunner of a plate. There were issues along the way, as Thea’s chicken wasn’t cooking properly and April Lee’s mousse separated; standard issues that could mean going home immediately.
When it came to judging, Andy’s lobster chowder impressed Michael; Dora’s beef cheek po’boy was flavourful but should have made her own bread, according to Claudio; Jeremy’s monkfish wowed Alvin; Christopher’s dim sum was delicious but needed more flavour, Claudio opined; Thea’s crispy chicken was dry, said Alvin; Andrew’s eggs were wonderfully runny; Marissa’s chicken and tempura squid with pork belly was clunky, said Claudio; Andre’s pickled coconut pasta and sea urchin was loved by Alvin; Barrie’s Waygu beef tartare impressed Michael; Mai’s salmon in green curry was very good according to Alvin; Jen’s steak and potatoes were delicious, said Claudio; and April Lee’s lemon curd was delicious but her presentation was bad, advised Claudio.
The result? Andre was deemed the winner, and will be given an advantage in next week’s episode. As for the bottom dishes, April Lee, Marissa and Dora found themselves in the bottom. And while April Lee and Marissa were given another chance, Dora wasn’t. She exited the MasterChef kitchen, again.
MasterChef Canada: Back to Win airs Sundays at 9 p.m. ET/PT on CTV.
What makes Second Jen so enjoyable is its portrayal of relatable moments.
Part of Sunday’s Season 3 return episode—airing at 8:30 p.m. Eastern on Omni—shows a team building exercise that is painfully similar to one I was a part of recently. It was cringe-inducing and uncomfortable at times, just like what Second Jen shows. It’s been part of Second Jen‘s DNA since Day 1.
“I like to start with a premise that speaks to something deeper to me,” says co-creator, co-executive producer, writer/story editor and star Amanda Joy, who wrote three of the season’s six episodes. “Something that speaks to my experience either with my family or something that deeply affects me as an artist and as a person.” That can be anything from workplace discrimination to—she explains with a laugh—being “well over the age of 19” and having her ID checked at the liquor store.
The 2019 Canadian Screen Awards Best Comedy nominee once again explores the friendship between Jennifer “Jen†Wu (co-creator, co-executive producer, writer and director Samantha Wan) and Jennifer “Mo†Monteloyola (Joy). Storylines this season include an exploration of female empowerment, corporate diversity initiatives and family therapy.
Intimacy and relationships are investigated as well. For Mo, that means love interest Scout (Isabel Kanaan); for Jen, it’s Riley (Andrew Bushell).
“[Mo and Scout] are a really fun pairing,” Joy teases. “Mo has been a character who has had these love interests and has always wanted to pursue them and then, for whatever reason, they don’t work out. It’s going to be more interesting because Mo is in a more stable part of her life.”
Family has been a mainstay of Second Jen, and that’s true in Season 3. Joy points to the season finale as being particularly poignant when Mo’s family comes to visit from the Philippines.
“Having more of a Filipino presence, of Filipino culture and more of the Filipino family was something that I’ve been pushing for from the very beginning,” Joy says. “This episode is the culmination of the seeds we’ve been planting throughout the series, of Mo missing this piece of herself and what that feels like. Episode 6 is about finding what it means to be a family when you are all so separated. It was such a joy to write and such a joy to see come to life.”
Second Jen airs Sundays at 8:30 p.m. Eastern on Omni.
Her Internet connection might be spotty, but judge Kyla Kennaley’s connection to the home bakers on The Great Canadian Baking Show isn’t. Kennaley, who is currently overseas in London, recently chatted with us online (via a persnickety connection) to talk about the newest season of CBC’s Sunday night confection.
Returning Sunday at 8 p.m., a new batch of 10 amateur bakers descended on the show’s tent to compete in weekly baking challenges under the gaze of judges Kennaley and Bruno Feldeisen, and new hosts Alan Shane Lewis and Ann Pornel. We dished with Kyla Kennaley on Baking Show, a resurgence of baking during the pandemic and her take on a controversial classic cake.
Before we talk about The Great Canadian Baking Show, what’s it been like to see so many people starting to bake during the pandemic? Kyla Kennaley: I love it. I love that friends that I have kept in touch with loosely on Facebook since high school are sending me direct messages saying, ‘I’m feeding my sourdough starter, what do I do next?’ I love the engagement and that it’s connecting people.
What’s your take on Alan and Ann, the new hosts on the show? KK: In Season 3, I thought I laughed more than I ever had in my life. And this year I learned, ‘No, there is another level.’ My only exercise is laughing and it kept me slim. They are hilarious and so engaged … and Alan is so tall. [Laughs.]
I’m always blown away by what the home bakers can do, and judging by what I’ve seen of Season 4, they are at another level. KK: It’s phenomenal how talented the home bakers are. I had the luxury of a 2,000-square foot production kitchen and everything that I needed and I look at what they are doing in their homes and it blows my mind. The competition was tighter and I think it shows. They are constantly improving.
Do all of the home bakers come in with fully-formed recipes prepared? I assume they do, but that’s never expressly said during the show. KK: Yes, and from what I understand they have to have their own version of the recipes. That’s a very important part of the show because it’s what it’s all about, and so the team can source their ingredients.
So, I think it’s apropos that, in a very difficult time, what it’s like to look around for ingredients. I’ve never, in my life, gone into a grocery store like I have this year and said, ‘Oh my gosh, there is no baking soda!’
Flavour-wise, I’m a lemon girl. Give me a lemon cake any day!
The Great Canadian Baking Show airs Sundays at 8 p.m. on CBC.
[Spoiler alert! Do not continue reading until you have watched “The Ministry of Virtue.”]
Christina Ray is one of two new additions to the Murdoch Mysteries writer’s room for Season 14. No stranger to Canadian television, Ray has penned and/or produced for series like The Collector, The Best Years, The Pinkertons, Blackstone and Tribal. And, on Monday night, she turned in one heck of a script for Murdoch.
Amid a main storyline about arranged marriages was a tragic blow to the Watts/Jack relationship, as well as a major jump forward in Miss Hart’s bond with Arthur Carmichael. We spoke to Christina Ray, via email, about “The Ministry of Virtue.”
Welcome to the Murdoch Mysteries writer’s room! Give me your backstory. I know you’ve written for shows like The Pinkertons, Blackstone and Tribal. How did you end up in writing in the Canadian TV industry? Christina Ray: A lot of Canadian writers seek their fortunes down in L.A., but I did the opposite. After winning a screenwriting award in Austin, Texas, I married a Canadian and moved here. I have no regrets. I love Canada.
And how did you end up on Murdoch Mysteries? CR: I’d worked with executive producers Paul Aitken and Peter Mitchell years ago when we were developing a show about Bulgarian vampires. Alas, that show never came to be and the world will forever be deprived of our Bulgarian vampire brilliance. Flash forward 10 years and I get called in to an interview for Murdoch. I was thrilled by the prospect of working with Peter and Paul again, because they are such witty, fun and generous collaborators.
Where did the idea for the main storyline, arranged marriages, come about? Was it inspired by research you did or was it pitched in the virtual room by someone? CR: Executive producer Simon McNabb had discovered an article published in The Globe and Mail in 1906 about “Salvation Girls,” women who’d been convicted of various offences in England who were offered the chance to start new lives in Canada as servants, wives and mothers. This was an actual program sponsored by the Salvation Army at the time, and we felt the concept of mail order brides was a juicy one to explore as a Murdoch storyline.
Detective Watts has evolved into a complicated character and he does a lot of heavy lifting with story in this episode. What’s it been like writing for him? Daniel is fantastic in the role. CR: I loved writing the Watts and Jack scenes. The arc of their relationship is especially heart-wrenching in this episode. Watts is wonderful, quirky and complex in a way that is quite lovable. It’s compelling to watch him navigate the difficult reality of a being gay man at a time when his very identity was against the law.
Miss Hart is another interesting character on Murdoch Mysteries. People love, or hate, her. What’s your take on Miss Hart? Is she just misunderstood? CR: Violet Hart is a sly, feisty survivor. Despite the challenges of being a woman of colour during the turn of the century, she pursues the life she wants, and I admire her moxie. She’s surprising and mysterious. Her personal dynamic is unlike anyone else in the show. She’s definitely polarizing, but I love her character.
Miss Hart and Arthur Carmichael shared a kiss that was not shown on-camera. Was that a reflection of the shock of the time? Was it written in the script that way or was that a decision director Mina Shum made? CR: You can thank COVID-19 for that! I would have loved to have shown the kiss on screen, but the pandemic affected our creative choices. As one of our many pandemic related precautions this season had a ‘no kissing’ rule! Many other precautions were taken to keep everyone in our cast and crew safe: daily health check questionnaires, temperature checks, location disinfection, mask requirements, etc. Shaftesbury really knocked it out of the ballpark when it comes to finding a way to continue production during this crisis.
Jack Walker’s butcher shop was vandalized and he and Watts broke up. How could you break them up?! CR: The course of true love never did run smooth, said Shakespeare. The fact the audience cares that we broke them up is exactly why we broke them up! It’s called drama. Hearts and flowers all the time would be dreadfully dull. All I can say is we’re not done with Jack and Watts. Stay tuned for future twists and turns!
What kind of writer are you? Do you prefer a noisy coffee shop (remember those?) or a quiet room? Do you like to play music while you write? What works for you? CR: I could never work in a noisy coffee shop. I like a quiet room, with as few distractions as possible. I do listen to music, but it can’t have lyrics. No words, just instruments. I need to hear the dialogue that’s going on in my head without interruption. I love all kinds of music, but while I’m writing what works for me is to listen to ambient electronic grooves like Fila Brazilia, Tosca, or Kruder and Dorfmeister.
[Spoiler alert! Do not continue reading until you have watched “Murdoch Checks in.”]
“It’s great to see Murdoch and Ogden together in such an informal setting, and just enjoy each other’s company. They work so well together, their skills combine to create a perfect detective team.” That’s what Noelle Girard, writer, and co-producer on Murdoch Mysteries, had to say about Monday’s newest episode. And we totally agree.
“Murdoch Checks In,” written by Girard, saw our favourite couple in the woods and part of a group headed to a lodge for a little getaway. Of course, no time away with these two is ever spent truly relaxing and this was no different. Sadly, the death of art collector Derek Ferdinand meant William and Julia were on the case.
Meanwhile, back in Toronto, Higgins and Crabtree teamed to identify a head buried in a garden allotment and Miss Hart’s relationship with Carmichael moved to the next level.
We had an email chat with Noelle Girard to find out how the episode came together.
Noelle, how has the pandemic affected the way you write? Are you comfortable writing by yourself or do you like the noisiness of a writer’s room? Noelle Girard: While it’s always been the case at Murdoch that we write the outlines and drafts by ourselves, I did miss going into the writer’s room every day and chatting about the script. We had our notes sessions via Zoom, and while it got the job done, there’s just something about the long, sometimes meandering talks in the room that can point you in a better direction or bring out something you missed while writing alone.
How did the idea for the main storyline of a trek through the woods and murder at the lodge come about? Was it inspired by anything in particular? NG: We like to have an episode where Ogden and Murdoch get away by themselves, and of course it’s always a busman’s holiday for them as there is always a murder to solve (or two, or three). It’s funny that while Julia does enjoy tramping and sleeping in a tent with Murdoch, this time she’s chosen their getaway, and it’s at a cozy inn.
We also wanted to bring back the character of Derek Ferdinand. That character inspired us to do something a bit different, as we typically have the murder Murdoch is investigating happen in the tease, or early in act one. But with the irascible Mr. Ferdinand, we thought it would be better to spend a bit of time with him before he’s offed.
I really enjoy it when Murdoch and Julia head outdoors. It’s the chance to see them in a new—and sometimes unfamiliar—environment. Do you enjoy that change of setting when you’re writing? NG: It’s great to see Murdoch and Ogden together in such an informal setting, and just enjoy each other’s company. They work so well together, their skills combine to create a perfect detective team. I also love their more informal outfits, it’s a treat to see what the costume department comes up with.
Professor Leamington is a lot of fun. I laughed out loud when he first spoke of the genus of woodpeckers. Did he come fully-formed on the page or did the actor bring his own ‘foibles’ to the table? NG: The actors always bring so much to the scripts, of course. We wanted to have a few ‘types’ as suspects, such as the flirty widow and the tweedy professor, to annoy Murdoch and Ogden, and it’s fun to play someone who thinks he knows it all off Murdoch, who actually does know it all. We had a larger cast of suspects planned and had to whittle down the numbers due to pandemic restrictions, but I think it turned out better with a smaller group of characters.
I’m not a fan of gardening, but even I know a human head isn’t supposed to be planted next to my beans. Where did that macabre detail come from? NG: It was actually stolen from an article I read a year or two ago. A woman in France was furious that her industrious co-worker was making her look lazy by comparison. She killed the woman with a wine bottle, then buried her head in her allotment. Very gruesome. I did get second thoughts halfway through the process, but by then the prop department and the model artist were having too much fun making the head!
It was enjoyable to have Higgins and Crabtree work a case together. Do you relish the opportunity to write for a pairing like theirs and a meatier storyline for them? NG: I just love the two of them together. I think every script I’ve written for Murdoch Mysteries has at least one daft conversation between those two. Crabtree, of course, is up to the challenge of taking on a murder investigation, and Higgins’s oblivious laziness is on full display.
Higgins is having a hard time staying focused. Clearly, the future baby is having an effect on him. NG: Doesn’t Higgins always have a hard time staying focused? It doesn’t take a lot to divert his attention. And I have to say I’m so excited that Henny and Ru-Ru are having a baby. I’m sure their parenting will be sweet but absolutely chaotic.
And yet, his interrogation of Miss Irwin was well done. NG: When we discussed the interrogation scene with Higgins and Crabtree in the early stages, it made us laugh that Higgins would be the one that cracks the suspect and gets the confession. While Higgins isn’t the murdering kind, it makes sense that he could understand her motivations, and sympathize a little bit.
Giving Miss Hart a romantic storyline is a welcome addition to Season 14. Has that evolution of her story come naturally? Yes, that was planned from our early talks about this season. We wanted to continue our exploration of what makes Hart tick. We’ve seen what she will do to get ahead, how she deals with her past coming to haunt her, and now we wanted to see her clash with a romantic interest. Arthur Carmichael, being so wealthy and cocksure, has more than met his match in Violet Hart.
The theme of racism arose during Miss Hart’s date with Carmichael at the restaurant. What’s it been like writing that storyline, and dealing with racism during this time period? NG: Hart and Carmichael’s relationship, for me, is all about power, class, and scandal. We were interested in showing the shifting power dynamics in their relationship. Carmichael is attracted to Hart but also attracted to the scandal he is causing by courting a Black woman. Of course, Hart is not one to be trifled with and soon asserts her power, intriguing Carmichael even more. The effects of racism are a part of Hart’s story, as well as her relationship with Carmichael. It’s perhaps at the root of most of their power imbalances, and it will be so interesting to see how Hart shifts all those imbalances throughout the season.
