TV, eh? | What's up in Canadian television | Page 184
TV,eh? What's up in Canadian television

Farewell, Cardinal

This Monday night, a Canadian television series says goodbye. After four seasons, Cardinal ends, closing a chapter on some truly groundbreaking TV.

I was a fan of the Cardinal from the very beginning thanks to reading and loving the source material written by Giles Blunt years ago. The tale of a small-town Canadian cop solving crimes? I was all in. But would a television adaptation work? How would a lead character that was so in his head translate to the small screen?

There are a lot of folks to credit with how it was done, from Season 1 writer Aubrey Nealon, to actor Billy Campbell, director Podz, Sienna Films, and executives at Bell Media. Instead of going inside Detective John Cardinal’s head, we stayed outside, the camera coming in close on Campbell’s face, reading what was there in his expression and in his eyes. The same goes for Detective Lise Delorme. Karine Vanasse, and the creative folks get kudos for breathing life into this feisty, fantastic cop. I can’t imagine two actors more suited to the roles they were cast in. Re-reading the novels, which I will do this summer, means I’ll picture their faces as I scan the pages.

Northern Ontario—and the weather than comes with it—has played a huge role in Cardinal‘s storytelling, reflecting the changes in season in this country and adding another layer (pun intended) to each episode.

Back in 2004, Corner Gas debuted. It changed the way we looked at ourselves on the sitcom front, and proved Canada could do comedy just well—and I’d argue better—than the U.S. Now, with Cardinal Bell it has been done with the drama genre. I’m a huge fan of Nordic Noir—crime dramas set in Scandinavian locales—and Cardinal deserves to stand among the very best of those. And, I’m hoping, Cardinal will inspire more drama like it to be created in this country.

Thanks to Billy Campbell, Karine Vanasse, Glen Gould, James Downing, Kristen Thomson, Deborah Hay, Eric Hicks, Zach Smadu, Alanna Bale and the rest of the cast for bringing these characters to life in such a convincing way. Thank you to Aubrey Nealon, Sarah Dodd, Patrick Tarr, Jane Maggs, Gemma Holdway, Naben Ruthnum, Patrick Whistler, Alison Lea Bingeman, Jennica Harper, Russ Cochrane, Noelle Carbone, Aaron Bala, Shannon Masters, Penny Gummerson and Jordi Mand for writing such wonderful scripts. Thank you to Podz, Jeff Renfroe and Nathan Morlando for your directing. And thanks to the crew, producers, executives and everyone else who made Cardinal happen.

I’m going to miss Cardinal, but I’m so glad it was made in the first place. It’s hard to make television in this country, and even harder to do it right.

Cardinal did it right.

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Season 2 of Coyote Science celebrates Indigenous science on APTN

I love shows like Coyote Science. Though it’s aimed at kids, I found myself learning a heck of a lot about science and how it ties into the First Nations community.

Returning for a second season on APTN this Sunday at 10 a.m. ET, Coyote Science boasts super-cool animation and a punchy soundtrack, not to mention A-list Indigenous scientists like Percy Paul, a mathematician and physicist who explains the science of a skateboarding technique called an ollie; Jessica Bekker, an electrical engineer helping Indigenous communities develop sustainable energy from solar to wind; Naxaxalhts’i Sonny McHaisle, who has extensive knowledge of the traditional technology of the Sto:lo Nation; and Corey Gray, who works with the Nobel Prize team that measured gravitational waves at the Laser Interferometer Gravitational-Wave Observatory (LIGO).

We spoke to Métis Cree filmmaker Loretta Todd—an internationally acclaimed, award-winning filmmaker—about creating Coyote Science, what viewers can learn and what her plans are for Season 3 amid COVID-19.

Tell me about how Coyote Science came about in the first place.
Loretta Todd: I’ve been a bit of an amateur science nerd for a long time. As an Indigenous person, I’ve always been conscious of the fact that we don’t seem to be in that space of science, except maybe as specimens, or something that is studied. And yet I knew that when I was growing up, I had relatives who were very innovative with technology, could fix anything because that’s what we had to do, who seemed to have deep knowledge of the land, and so on. And so, those things all pertain to science and technology. And also, as I started making films, I would meet new people.

I always like to reference Dr. Leroy Little Bear and his wife, Amethyst First Rider, because they have always been one of my greatest inspirations for much of the work I do as a filmmaker.

Another person who influenced me is someone who’s in the children’s series, John Herrington, who is an astronaut, the first Indigenous astronaut in space. He talks about us as being natural scientists, that Indigenous science, as Indigenous people, we observe, and that from the observations we gain knowledge. We may not have the scientific method, which the west sort of prescribes as a necessity to really be science, but we certainly are engaged in observation and learning from that observation, and even testing, maybe not in the same way as a lab, but we’re doing that now anyway.

Is there a formula for each episode?
LT: There’s a whole parameter of things that influence the shaping of Coyote Science. You sort of have a mission statement or a set of parameters that I wrote out. Drawing from that, but also drawing from my knowledge of Indigenous learning, and just sort of like, ‘OK, this is what we do, this is what we don’t do.’ We’re respectful of adults. We reinforce healthy family relationships. All these things we sort of model that are things that are values within the Native community. Within the Cree culture, we talk about this idea of the good life. It doesn’t mean a materialistic type of life.

It’s a good life in which you’re respectful of family, community, the world around you. So again, I try to embody that. And plus, the other thing is, you’re always trying to underline this idea of encouraging confidence, young people having respect for themselves, liking themselves, seeing that they can do this. And then also, kids like to see other kids reflected back to them. That’s something that’s a constant in educational media. That’s why you see a lot of Indigenous kids. I thought that was really important.

Your host, Isa, is fantastic. 
LT: One of the other things I try to do in my children’s series, and I’ve done that right from the beginning, just because I think it makes it easier for all of us, is I work with kids that I know. I didn’t do an open casting. I asked family and friends. And of course, many of my family and friends are themselves involved in media in some way. So I was looking for kids that were comfortable in front of the camera. That’s sort of one of the first things is to search that out. Isa is my niece’s husband’s niece. She’s brilliant.

She’s now at first-year university, but she’s a straight-A student her whole life, and science has always been an area of her expertise.

Season 3 of Coyote Science is heading into production. How will you do that with COVID-19 still a concern?
LT: I had to convince the broadcaster APTN and CMF that I could do this comfortably, I could do it safely. One of the things that I’m really, really fortunate to have is the fact that through Season 1 and 2 and also through my previous children’s series, I’ve developed these relationships with Indigenous directors, and cinematographers, and other crew, who have kids at home. So basically, what I can do is have them do the quests with their kids at home, because they’ve got the equipment, they’ve got the skill. Some of them are cinematographers and directors, and some of them have got one kid, some of them have got six kids.

Some live in the city, some live out in the country, so we could kind of adjust to that. Some have green screens even, so we can adjust to that. And then, in cases where maybe the only real critical thing I’m worried about is sound, so our plan is to do some online sound workshops with one of our sound recordists, and get one of their family members, the husband, or the wife, or one of their teenage kids, to train in sound so that we can then make sure that we have good quality sound as well.

Coyote Science airs Sundays at 10 a.m. ET on APTN.

Images courtesy of Coyote Science Inc.

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2020 Canadian Screen Award winners to be announced in virtual presentations

From a media release:

The Academy of Canadian Cinema & Television, in partnership with CBC and CTV and with the support of Telefilm Canada and the Canada Media Fund, announced today a series of virtual presentations to reveal the winners of the 2020 Canadian Screen Awards, taking place Monday, May 25, 2020, through Thursday, May 28, 2020.

Following the cancellation of all Canadian Screen Week events due to the COVID-19 pandemic, including the Canadian Screen Awards Broadcast Gala, the Canadian Academy has worked to design a creative and sophisticated way to celebrate the nominees and announce the winners of the awards.

Drawing inspiration from documentary films, podcasts, and music videos, the Canadian Screen Award virtual presentations will consist of eight pre-taped, thematically distinct online shows made up entirely of footage from the nominated artists, narrated by a notable Canadian. Narrators will include Eric McCormack, Herbie Kuhn, and Lloyd Robertson among others who will be announced in the lead-up to the virtual presentations. Nominees are encouraged to gather virtually to watch the announcements together, and winners are likewise encouraged to upload footage of their “winning moments” and acceptance speeches onto the social platform of choice with the hashtag #CdnScreenAwardWinner.

The virtual presentations will be live-streamed on the Canadian Academy Facebook, Twitter, and YouTube channels, as well as academy.ca.

Nominations for the 2020 Canadian Screen Awards were announced in February in 144 film, television, and digital media categories. The CBC comedy Schitt’s Creek leads both television and overall nominations with 26 in total, a Canadian Screen Award record. Leading film categories is François Girard’s The Song of Names with nine nominations. A full list of all nominees can be found at academy.ca.

The 2020 Canadian Screen Awards virtual presentations are Presented by CBC and CTV and with the support of Telefilm Canada and the Canada Media Fund. The 2020 Canadian Screen Awards for Children’s & Youth Programming is Presented by Shaw Rocket Fund.

2020 Canadian Screen Awards, Presented by CBC and CTV, with the support of Telefilm Canada and the Canada Media Fund:

Monday, May 25, 2020
7:00 PM ET: Canadian Screen Awards for Broadcast News
7:30 PM ET: Canadian Screen Awards for Sports Programming
8:00 PM ET: Canadian Screen Awards for Documentary and Factual

Tuesday, May 26, 2020
7:00 PM ET: Canadian Screen Awards for Children’s & Youth Programming, Presented by Shaw Rocket Fund
7:30 PM ET: Canadian Screen Awards for Lifestyle and Reality

Wednesday, May 27, 2020
7:00 PM ET: Canadian Screen Awards for Crafts in Scripted Programs
8:00 PM ET: Canadian Screen Awards for Scripted Programs & Performance

Thursday, May 28, 2020
7:00 PM ET: Canadian Screen Awards for Cinematic Arts

About the Academy of Canadian Cinema & Television
The Academy of Canadian Cinema & Television is the largest non-profit professional arts organization in Canada. We are dedicated to recognizing, advocating for, and celebrating Canadian talent in the film, television, and digital media sectors. Our more than 4,500 members encompass industry icons and professionals, emerging artists, and students. Collectively, we deliver professional development programs and networking opportunities that foster industry growth, inclusion, and mentorship.

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Coroner and Jann capture WGC Screenwriting Awards

From a media release:

In an awards presentation unlike any other for the Writers Guild of Canada, host Gavin Crawford announced the winners of the 24th annual WGC Screenwriting Awards via the Guild’s YouTube channel this evening. Winners of 2020’s top prizes include Jann Arden & Jennica Harper (JANN), Noelle Carbone (Coroner), Laura Phillips (Sweetness in the Belly) and Nance Ackerman & Ariella Pahlke & Teresa MacInnes (Conviction). Congratulations to 2020’s talented winners and nominees.

WGC special awards were also presented, with the WGC Showrunner Award going to Dennis Heaton, the Sondra Kelly Award to Cynthia Knight, and Nathalie Younglai receiving the Alex Barris Mentorship Award. 

In light of the cancellation of the 2020 physical awards ceremony due to COVID-19, this year’s winners will also be celebrated at the 25th Annual WGC Screenwriting Awards, which are set for April 26, 2021, at Toronto’s Koerner Hall.

2020 WGC SCREENWRITING AWARDS WINNERS 

CHILDREN’S 

Hotel Transylvania: The Series, “Better Know Your Mavis” | Written by Mark Steinberg 

COMEDY SERIES 

JANN, “The Big House” | Story by Jann Arden & Jennica Harper, Teleplay by Jennica Harper 

DOCUMENTARY 

Conviction | Written by Nance Ackerman & Ariella Pahlke & Teresa MacInnes 

DRAMA SERIES 

Coroner, “All’s Well” | Written by Noelle Carbone 

FEATURE FILM 

Sweetness in the Belly | Written by Laura Phillips 

MOW & MINISERIES 

Thicker Than Water | Written by David Elver & Andrea Stevens 

PRESCHOOL 

Dino Dana, “Dino Prints” | Written by J.J. Johnson & Christin Simms & Amish Patel 

SHORTS & WEBSERIES 

Save Me, “Birdie’s End” | Written by Fabrizio Filippo 

TWEENS & TEENS 

Creeped Out, “The Takedown” | Written by Emma Campbell 

SONDRA KELLY AWARD 

Cynthia Knight

ALEX BARRIS MENTORSHIP AWARD 

Nathalie Younglai

WGC SHOWRUNNER AWARD 

Dennis Heaton

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