TV, eh? | What's up in Canadian television | Page 451
TV,eh? What's up in Canadian television

Nish Media announces brand new TV series on APTN Skindigenous debuting Feb. 20

From a media release:

Nish Media debuts its brand new 13-episode series SKINDIGENOUS, which explores Indigenous tattooing traditions around the world, on Tuesday, February 20th at 7:30 p.m. ET on APTN HD and APTN E and at 7:30 p.m. MT on APTN W. The APTN N broadcast begins on Friday, February 23 at 5:00 p.m. CT.

The art of tattooing is much more than simply a method of decorating one’s body. At its origins among ancient cultures, tattooing was only practiced by those with special standing in the community. Today, modern-day tattoo artists use their art to re-connect with the heritage of their ancestors and to ensure that their stories are not lost. They do this by maintaining the traditions of their forebears and teaching a new generation about both the ancient and modern techniques they’ve learned.

SKINDIGENOUS takes us on a scintillating journey around the world, from the Philippines and Indonesia to Samoa, Hawaii, New Zealand and Mexico, by way of North America via British Columbia, Alberta, Toronto, Alaska and Newfoundland.

Each episode takes the viewer into the lives of the different practitioners and their unique culture to discover the tools and techniques, the symbols and traditions that shape their tattooing art. The art of tattooing is the lens for exploring some of the planet’s oldest perspectives on life, identity, and the natural world.

In Indonesia, a shaman named Aman Jepri gives an apprentice the markings that will complete his initiation into Mentawai shamanism. In Alberta, Amy Malbeuf practices the skin stitch technique with needle and thread; 100-year-old Philippine Wang Od Oggay and Samoan Peter Sulua’pe continue the traditions of their ancient customs; in BC, Alaska, Newfoundland, Toronto, Mexico, Hawaii and New Zealand, Dion Kaszas (BC), Nakkita Trimble (BC), Marjorie Tahbone (AL), Jordan Bennett (NL), Jay Soule (TO), Samuel Olman (MX), Keone Nunes (HI) and Gordon Toi (NZ) are reviving the forgotten art of their ancestors; and in Seattle, artist Nahaan sees tattoo as a political act and a form of resistance.

The accompanying Skindigenous app on the series website will give Indigenous tattoo artists from around the world a forum to record and view their tattoo art. This initiative marks a unique opportunity for a community to build around these artists.

The series was directed by Nish Media producer Jason Brennan and four other directors. Jason, a member of the First Nations community of Kitigan Zibi, has produced shows for APTN, CBC, Radio-Canada, Ici ArtTV, Canal D, TV5 and CBC Docs, including the sixth season of the Indigenous youth hockey show Hit The Ice. The series’ remaining directors are: Award-winning Mohawk filmmaker Sonia Bonspille Boileau (feature film Le Dep, Gémeaux-winning Last Call Indian, Yorkton Film Festival Golden Sheaf winner The Oka Legacy); award-winning film and television director, editor and cameraman Randy Kelly; filmmaker, content creator, director, author Jean-François Martel (the Gémeaux-nominated Radio-Canada documentary Véronique Dicaire : Grand V, La Fosse aux tigres) and Kim O’Bomsawin (La ligne rouge, APTN/Canal D’s Je ne veux pas mourir and the APTN series Motetan Mamo/Marchons Ensemble).

About Nish Media
The series is produced by Nish Media, a multi-award-winning production company based in the Ottawa-Gatineau area. Over the past ten years, producer Jason Brennan has produced over 200 hours of television for various networks such as APTN, CBC, Radio-Canada, Ici ArtTV, Canal D, TV5 and CBC Docs, including Mouki, Wapikoni, La Fosse aux tigres and six seasons of Hit The Ice, nominated in prestigious television festivals including the Banff World Media Festival and Italy’s FICTS. Its first feature film, “Le Dep”, was selected to play in several film festivals including the Karlovy Vary Film Festival in the Czech Republic, the Vancouver Film Festival, the Raindance Film Festival, ImagineNative and the American Indian Film Festival. Nish Media is currently adapting Marc Séguin’s novel Nord Alice for film, as well as producing Sonia Bonspille Boileau’s next feature film Rustic Oracle.

 

 

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Hollywood Suite mourns the death of founder Jay Switzer

From a media release:

Canadian media industry legend and Hollywood Suite co-founder, Jay Switzer, died peacefully in Toronto on January 29, 2018 with his family at his side, after a too short, but courageous battle with brain cancer.

Jay was beloved and respected in both his business and personal life, and a dedicated, loyal, and loving husband, son, son-in-law, brother, and friend to many.

Jay was born to a life in television, raised with his dear sisters by two loving parents, both of whom were legends in the Canadian TV industry. Jay’s first introduction to the business came when his mother Phyllis asked her 13-year-old son to attend a CRTC hearing in Trois Rivières and bring back a report for her regulatory newsletter. When Phyllis co-founded Citytv in September 1972, 16-year-old Jay’s first full-time job was on the station’s switchboard. This was followed by regular Saturday nights as floor director assembling the boxing ring with his high school classmates on Citytv’s live “Fight Night” broadcasts. The pay was $1.50 an hour but he got to clean George Chuvalo’s spit cup.

After getting his MBA from the University of Western Ontario, Jay returned to Citytv on a full-time basis as Program Manager, the job that was truest to his calling, and one he never really let go of. His passion for great TV and film was contagious, and led to Citytv, and its offspring MuchMusic, Bravo!, FashionTelevision and many other CHUM channels, expanding across Canada and around the world. Jay rose through the ranks at CHUM over the years, ultimately being appointed CEO in 2002.

In 2010, Jay co-founded Hollywood Suite, where he served on the Board of Directors as Chair of the Canadian independent, privately owned broadcasting company.

Jeff Sackman, Hollywood Suite co-founder and current Chair of the Board of Directors says: “Jay defined friendship, loyalty, fairness, selflessness, and basic human decency. He will be proud to know that these traits have been passed on to so many others who will pay it forward, ensuring that Jay’s legacy is intact and the world will be a better place. Thanks for all you did for me! Love!!”

Catherine Tait, Hollywood Suite co-founder and Director says: “Amongst Jay’s many qualities was his unwavering support to women in an industry which has often turned a blind eye. He tirelessly promoted and encouraged so many of us – and we hold him in our hearts forever, in gratitude.”

David Kines, Hollywood Suite co-founder and President says: “On behalf of the staff, directors and investors of Hollywood Suite, we want to express our most heartfelt condolences to Jay’s wife, Ellen Dubin, and the Switzer family. Jay was a supportive and encouraging leader whose commitment and belief in the mission and people of Hollywood Suite never faltered, despite the many headwinds facing the broadcast business. His certainty in our success will be sorely missed by both myself and the staff and our industry.”

Jay’s quiet contributions and commitment to community and country have been recognized with awards including the Friend of Women in Film and Television (Toronto) Award (1994), the Queen’s Jubilee Medal (2002), and the Human Relations Award (2005) from the Canadian Centre for Diversity. He was appointed a Member of the Order of Canada in December 2017.

Jay is recognized by his peers as a media business and cultural leader, leading major broadcasting entities, mentoring emerging talent—both individuals and organizations—and advancing the quality and success of the Canadian broadcasting sector. As a mentor to countless independent producers and creators of Canadian works for the screen, Jay is celebrated as a champion of independent Canadian feature film and television production having supported more than 200 projects throughout his career.

Jay was an active board member serving organizations including the Canadian Association of Broadcasters, the Banff Television Festival, the National Association of Television Program Executives, and the Toronto Film Board. He served as Chair of the board of GlassBOX Television from 2009-2011, and most recently served on the boards of: OUTtv; Shaftesbury Films Inc.; and Comweb Corporation. He was also a long-time supporter of Ryerson University, serving on the Advisory Board for the Faculty of Radio and Television Arts since 2012.

Funeral service details will be available here: http://www.benjaminsparkmemorialchapel.ca/. A public Celebration of Life will take place in the spring. Details will be announced at a later date.

Donations in Jay’s memory may be made to The Canadian Film Centre (http://bit.ly/CFCSwitzer or call 416-445-1446, x227) or to The Phyllis Switzer Memorial fund at Ryerson University (http://bit.ly/RyeUniSwizer or call 416-979-5000, x6516).

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Murdoch Mysteries: Simon McNabb on “Crabtree a la Carte” and Violet Hart’s intentions

Spoiler alert! Do not continue reading until you have watched “Crabtree a la Carte.”

Just what is Violet Hart up to? That was my biggest query going into Monday’s new episode of Murdoch Mysteries, especially after fans noted her odd behaviour in and around William. That was just one of many questions I had for Simon McNabb, who wrote “Crabtree a la Carte,” an instalment with plenty of fun thanks to Crabtree and Margaret, a gruesome poisoning and some tense moments between Julia and William.

I need to ask you about Violet Hart. Fans have noted her odd behaviour. She went to Josephine’s grave in “Mary Wept,” and made a comment to William about perhaps one day marrying a detective like him. Should fans be worried? Do we have another Eva Pearce on our hands?
Simon McNabb: [Laughs.] As a fan, I love any character who has a strong point of view and can bring some drama to the table. What kind of drama that might be for Violet Hart, obviously I can’t disclose, but I don’t think anyone should be worried, I think they should be excited.

I’m not sure if ‘excited’ is the right word if it means something bad happens to any of our core characters.
[Laughs.] That’s fair enough. I can’t say anything specific with respect to Violet, but I hope that, like all of our best characters, that even if we have questions about her we come to understand her at the end of the day.

She is certainly diligent. She works through the night to get William the information she needs with respect to the tainted meat.
One of the things that is interesting about her, as a character from our point of view as a writing team, is that she’s really good at her job which everyone on our show is if we’re being honest. Other than on occasion, when Higgins gets lazy. But, as a young woman in a male-dominated profession, what we haven’t really done before is bring in a character who right off the bat says something like, ‘I’m not going to be your assistant forever.’ She is somebody who has ambition from the get-go and isn’t afraid to say what she wants and wants to get out of life.

A reader picked up on Daniel Kash’s character’s name as being Randall Gordon, a take on Gordon Ramsay. I didn’t even twig to that.
Yeah, that was intentional. We’ve done it on occasion in the past as well as a sly reference to contemporary personalities and people we know in the public sphere. We’re always curious about what people will pick up on and we’re happy when people do because it means we’ve built the character strongly enough that there is just a little bit of Gordon Ramsay that comes through in Daniel’s performance.

There is so much buried in an episode of Murdoch Mysteries, from the murder itself to names of characters to props and signs. You really need to watch an episode more than once.
The great thing is we have a bunch of fans who do watch the show more than once. We’re aware of that and are excited, thrilled and quite honoured, frankly, that people like it enough that they revisit it, sometimes the same night that it airs or the very next morning. That’s just amazing that people care about it that much. In the writer’s room, we think about that but also people in all the departments—the crew—really get a kick out of that fact as well. People like Craig Grant in the props department and Bob Sher, our production designer and art director, go that extra mile so that there are those extra details.

Leslie Hope has directed a handful of Murdoch Mysteries episodes. I thought she did a great job capturing the action between Crabtree and Margaret during the Madison Fine Beef Culinary Challenge. What does Leslie bring to the table as a director?
When Leslie read the script [for this episode] during our first meeting about it she told me she had never seen any of these cooking competition shows. It shocked me that anybody could miss this enormous cultural phenomenon. But she got right into it and got very excited about it and watched a whole lot of the shows [as research] and really wanted to bring that aesthetic to the way that she shot the cooking sequences and then they way they cut it together. As a director in general, I think Leslie is someone we all love to work with. She’s been on the show for a couple of years now and she is somebody who, because she has a background in acting herself, the actors really respond to and enjoy working with. She is somebody who brings an energy and a focus to set that gets the crew and everybody excited to be there.

For me, the tainted meat in this storyline reminded me of what happened with Maple Leaf Foods back in 2008.
It’s funny, that’s not a case that we researched for this episode. The case that we had at the top of our minds in terms of the PR strategy and that kind of storyline was the Tylenol case from the 80s, which was not their fault at all but they decided to come out and apologize before they knew what the cause was. It came out that it was actually a lone wolf who tampered with a few bottles. Our view and the general consensus at the time was that it was a brilliant move to take responsibility before they had to and get in front of it because once it came out they had nothing to do with it they came out smelling like roses. So we tried to mirror that up and down scenario with our tainted meat scandal.

On the heels of the happy news that Julia is pregnant came an uncomfortable few scenes between she and William. Of course, that happened in front of Violet. Will there be more moments like this as Julia moves forward?
I hope it’s not all sunshine and lollypops because if it is it gets a little boring. At the same time, I hope the audience likes the direction that the rest of the season goes in. As for their fighting in this episode, it’s the perfect example of something the fans can enjoy and be excited about because, yes there is some friction between them but it comes from a place of love and William wanting to be everything he can for Julia and Julia wanting to be the best expectant mother that she can be.

There are a lot of balls in the air as we get into the last handful of episodes of Season 11. The pregnancy, Higgins and Ruth’s engagement … I can’t imagine every storyline will be wrapped by the season finale. 
I hope there is enough of a sense of closure at the end of the season that people will be satisfied even if there are hanging questions left over. Compared to the end of last season, there will be fewer question marks hanging over the heads of our characters and the audience.

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

Images courtesy of CBC.

 

 

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Link: Supreme Court denies BCE’s Super Bowl ad stay against CRTC

From The Canadian Press:

Link: Supreme Court denies BCE’s Super Bowl ad stay against CRTC
Bell Canada has been unable to block a regulator’s decision to ban the substitution of Canadian TV feeds and ads during Super Bowl broadcasts, at least this year.

The owner of CTV and TSN asked for a stay of the CRTC’s ban during Bell’s appeal at the Supreme Court of Canada. Continue reading.

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Link: Women Behind Canadian TV: Karen Knox

From Bridget Liszewski of The TV Junkies:

Link: Women Behind Canadian TV: Karen Knox
“Yes, filmmaking is becoming easier because of technology, and the equipment is so great that you don’t need a million dollars to set up a lighting rig. At the same time, the human costs are always going to be there. You have to feed your extras, make sure your wardrobe looks good or if you have to build a big set for a scene that’s still going to cost.” Continue reading.

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