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
The last project I saw Carolyn Taylor in was Baroness Von Sketch Show. The five-season sketch series for CBC featured Taylor and fellow executive producers/performers Jennifer Whalen, Aurora Browne and Meredith MacNeill playing outrageous characters.
Now Taylor is back in I Have Nothing playing just one: herself.
Available for streaming on Crave, I Have Nothing follows Taylor on a quest to choreograph the perfect, full-length pairs figure skating routine to Whitney Houston’s 1992 iconic hit song, “I Have Nothing.” What first started as a bit of a lark quickly turned into something a lot more daunting and real once legendary figure skater and choreographer Sandra Bezic signed on to not only help Taylor craft the routine but elicited David Pelletier, Ekaterina Gordeeva, Kurt Browning, Paul Martini and Barbara Underhill to help out.
We spoke to Taylor about how I Have Nothing Came about and its journey to TV.
This did kind of start as a lark and then it got serious, right? Once Sandra said, ‘OK, I’m going to connect you with people, figure skaters, and my reputation is on the line.’ So is the realization that we saw on screen legitimately the realization where it dawns on you, ‘Am I really going to do this?’ Carolyn Taylor: Yeah, when she says, this is no longer a joke. Now knowing, of course, it’s still a comedy docuseries, we’re still leaning into funny stuff and having those moments. When I’m working with those skaters, I’m legit doing my best. I’m doing my best, but I’m not, and I am leaning into my own foibles at the same time. It’s real, but it’s not a mockumentary.
Obviously, whenever there’s an Olympics in Canada, I have that certain amount of pride. It was so cool for you to actually tell your personal story about your feelings for Katerina Witt. Unlike on Baroness Von Sketch, for instance, where you were playing characters, this is really you talking about your feelings at the time. CT: There is such a vulnerability to that because as a comedian and actor, there’s a critical distance and you’re summarizing what you see and you’re observing and you’re assuming characters. But then to sort of strip that away and lean into it and take the piss out of yourself, but at the same time just be yourself, but then sometimes lean into the more absurd parts of your own personality. It was the biggest challenge. It was a huge challenge. It was hard, and it was fun. [Executive producer and director] Zach Russell and I, we would just talk, we were constantly having existential talks about the nature of reality and what are dreams and what is fantasy and what is time and what is it to have something and what is it to have nothing. I think as you get deeper into the series, it keeps tilting and tilting reality, but yet it’s actually happening. It’s happening, but we’re leaning into some quirks and weird shit too.
Sandra Bezic, Carolyn Taylor and Kurt Browning
This is a unique idea to pitch to production companies. How did you pitch it to Julie Bristow at Catalyst? CT: Well, there was an immediate connection. A friend of mine had worked with Julie and said, ‘Oh, you’ve got to pitch Julie. She just started a new production company.’ And so I met with her, and I wasn’t even sure I was even going to pitch this. It was just like, ‘Hey, let’s chat.’ She’s like, ‘Anything you’re thinking of?’ I’m like, ‘Well, I do have this obsession, this skating routine. I’d like to turn it into a series.’ And she was like, ‘I was obsessed with Katerina too. I was a skater.’ And she got it. And she understands the queer sensibility behind it. She also has connections in the skating world, and she is someone who puts trust in the people she collaborates with. So she and Vibika Bianchi at Catalyst are amazing. They said, ‘We want you to see your vision through, we want to help.’ And they really did have the connections and resources and the niche interest in this very niche project.
And then the same thing kind of happened with Bell and Crave. We talked to a few networks, but it was Bell who understood it. They understood that they didn’t understand parts, and we had to talk it through, and they were, but I am so grateful that they got behind it and said, yeah, this is our kind of weird, and we want to try it and we trust and let’s go for it. So they were great.
And was it Sandra Bezic who opened that door to Kristi Yamaguchi and other high-profile figure skaters? It’s one thing to pitch networks and production companies, but what about getting those names on board? CT: That was definitely Sandra. Those are all people she’s choreographed, people she’s worked with over the years on Stars On Ice, the Olympics, other competitions, et cetera, and they all know each other. They all like each other. So anything celebrating their sport and their cohort of skaters and Sandra and that world… I mean, they were skeptical. I think some of them were like, ‘What is this?’ Everyone was like that. But we also encouraged them. We said, ‘You’ve got doubts. Lay ’em out.’ So they really played in the world, but the things they’re saying are true. But it was pretty amazing that everyone got on board.
Let’s get a little bit into the writing. My initial question was about the writing and whether you were the sole writer, but it sounds as though there was a lot of improv. CT: It was unscripted. It was Zack and I working on the beat sheets. We wrote beats and we had a couple of people consult his story editors who came in. Alison Johnson was a story editor on the project throughout. So she was on set and would have ideas, and we collaborated at the end of the day and tried to figure out what the next day and what was going to happen. It really was chaos and control coming together because you couldn’t know.
What do you want viewers to experience when they watch I Have Nothing? CT: I want them to feel something. I want them to go on the ride and know that I am opening myself up and saying, ‘If anyone wants to come with me, come and let’s go on this ride together.’ I would hope that they do feel also some joy from it. I was talking to Xtra Magazine about that idea of queer joy and, ‘It’s okay, and we can have queer joy and we can have celebratory moments, and it’s okay if things work out and if there are triumphs.’
I’d be happy if it just generates conversation and questioning why we pursue what we pursue and why we don’t. And the 15-year-old who lives in us and who are we now versus who we were then who did we valorize and what would it mean to meet them?
Season 1 of I Have Nothing is available now on Crave.
Link: Preview: There’s plenty to love with Bria Mack Gets a Life Credit creator-director-writer Sasha Leigh Henry with busting down a stereotypical wall or two with Bria Mack. Like her main character, Henry is a Black Canadian who survived a University of Waterloo education. Her credits include a stint as story editor on Workin’ Moms as well as accolades at the Toronto International Film Festival for an earlier incarnation of Bria Mack. Continue reading.
From Sabina Wex of CBC Arts:
Link: Bria Mack Gets a Life turns the awkwardness of young adulthood into comedy gold “It felt like the female ensemble, female Black comedy lead was missing. I thought we could use that in Canada. I had this idea of a woman who, on her first day on the job, experiences someone trying to touch her hair. Instead of seeing the shitty, poorly handled HR meeting, where nothing really happens, what if we go with her and her brain to where she actually wants to go and how she would want to react? And we get to play that out.” Continue reading.
Link: Bria Mack Gets a Life is funny, well-written and pretty much perfect Since the success of Kim’s Convenience, some have wondered when Caribbean people would get a comedy series of our own. Well, that day is just around the corner with the upcoming Crave Original Series Bria Mack Gets A Life, a coming-of-age comedy about a young Black woman’s transition from college student to adulthood. Continue reading.
HGTV (Warner Bros. Discovery), in partnership with Corus Entertainment, have greenlit Don’t Hate Your House with the Property Brothers (wt) with home renovation and real estate experts Drew and Jonathan Scott as they find a way to fix problematic homes for frustrated families who desperately want to love their house. The recent greenlight of Backed By The Bros (wt) will also air on HGTV Canada, which will see the Brothers offer their invaluable insight and resources to help inexperienced entrepreneurs find success with their high-stakes investment properties. The two new series and a fresh season of Celebrity IOU will be produced by Scott Brothers Entertainment with Drew and Jonathan serving as executive producers. Don’t Hate Your House with the Property Brothers is co-produced by Scott Brothers Entertainment and Corus Entertainment. All three series are slated to premiere in 2024 on HGTV Canada and STACKTV.
Multi-faceted entrepreneurs and New York Times best-selling authors Drew and Jonathan Scott are co-founders of lifestyle and entertainment company Scott Brothers Global, which includes Scott Brothers Entertainment as well as multi-category home furnishings brands Drew & Jonathan Home and Scott Living. Seasoned real estate experts and renovators, Drew and Jonathan have helped hundreds of families create happy and healthy homes.
