TV, eh? | What's up in Canadian television | Page 512
TV,eh? What's up in Canadian television

Global Greenlights Original Series Private Eyes for a Third Season

From a media release:

Corus Entertainment continues its commitment to Canadian content and the local production community as it greenlights a third season of Global’s hit original series Private Eyes. From leading independent studio Entertainment One (eOne), the fan-favourite investigative drama receives a 12-episode order, with production set to begin in Toronto in spring 2018. Private Eyes also joins previously announced greenlit original drama Mary Kills People, currently in production on Season 2 in Toronto.

Set in Toronto, the series has sold to more than 110 territories globally including the US, UK, France, Italy, Australia, New Zealand, Portugal, Spain, Czech Republic, and Brazil. Development on Season 3 of the internationally successful original series is underway, with a diverse team of writers crafting a new batch of cases for Canada’s favourite detective duo Matt Shade (Jason Priestley) and Angie Everett (Cindy Sampson) to crack.

Private Eyes is produced by eOne in association with Corus Entertainment, with the participation of the Canada Media Fund, the Canadian Film or Video Production Tax Credit, the Ontario Film and Television Tax Credit. The series is executive produced by Jocelyn Hamilton and Tecca Crosby for eOne, Shawn Piller and Lloyd Segan for Piller/Segan, Jason Priestley, Alan McCullough, James Thorpe, Alex Zarowny and Tassie Cameron. McCullough and Piller are also showrunners. eOne controls international rights for the series.

 

 

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Alias Grace: Sarah Polley’s excellent Margaret Atwood adaptation comes to CBC

CBC has made it part of their mandate to focus on adapting more Canadian novels into television projects. They’ve already done it recently with Anne—Moira Walley-Beckett’s take on Anne of Green Gables, in production on Season 2 now—and Allan Hawco’s Caught, his adaptation of Lisa Moore’s novel.

Now the network goes all-in with Alias Grace, Margaret Atwood’s novel about a murderess in 1840s Canada. Debuting Monday at 9 p.m., the six-parter has been adapted by Sarah Polley and stars Sarah Gadon in the lead role of Grace Marks. The project ticks all the boxes of what’s top of mind in society—women’s rights and the immigrant story among them—and a hot genre in true crime. Alias Grace is based on the real-life case of domestic servant Grace Marks, an Irish immigrant who was imprisoned in Kingston Penitentiary for teaming with stable-hand James McDermott (played by Kerr Logan) and murdering their employer, Thomas Kinnear (Paul Gross) and his housekeeper, Nancy Montgomery (Anna Paquin). The book and the production introduce a fictional doctor, psychiatrist Simon Jordan (Edward Holcroft), into the mix, who meets with Grace to discuss what she recalls of the crimes. Did Grace really commit the murders she was convicted of? And where does housemaid Mary Whitney (Rebecca Liddiard) fit into what happened?

“Adapting Alias Grace was like a boot camp for screenwriting,” Polley says during a media press day in Toronto. After buying the rights to the novel years ago, Polley initially thought Alias Grace would be a feature film. Those plans were scuttled because the book contained too many time jumps and changes in characters’ views and voices to make a movie feasible. A six-hour television series was perfect, giving her the opportunity to fit everything in. Once she had the scripts done, Polley began shopping them around; executive producer Noreen Halpern snapped it up for Halfire Entertainment after having a coffee with Polley.

“Sarah handed me the six scripts and I read them in one sitting,” Halpern recalls with a smile. “Once you start reading them, you can’t stop. The writing is so compelling.” Equally compelling is the colour palette devised by director-executive producer Mary Harron. Washed-out greys are the backdrop to scenes in the Kingston prison, dark grime on the ship from Ireland to Canada, rich browns in the prison governor’s office where Simon and Grace’s conversations take place, and golds seeping into Grace’s reflections of her happy days at the Kinnear farm.

“When she arrives in Toronto, which is supposed to be this promised land, it is a sea of mud,” Harron says. “When Grace sees the farm for the first time, it’s bathed in golden light. Even though terrible things happened at this farm, in her memory it was a beautiful place.”

What really makes Alias Grace hum is the cast. Gadon is spectacular as Grace and Holcroft is equally to task as Simon. In Sunday’s opening moments, Grace serves as narrator, describing her long prison term and the reason she was there in the first place.

“I think of all the things that have been written about me,” Grace says. “That I am an inhuman female demon. That I am an innocent victim of a blaggard forced against my will and in danger of my own life. That I was too ignorant to know how to act and to hang me would be judicial murder.” While she states each version of herself, Gadon twitches and teases her face to match each person the public views. With such skill in presenting the right face, who’s to say Grace isn’t playing the victim in her chats with Simon? Is she playing him for a fool, hoping he’ll help to have her pardoned?

“We have our own theories,” Gadon says with a smile. “Margaret Atwood was very, very against us sharing them with you. I will say that we all got so caught up in the whodunit aspect and the web of lies. What’s interesting is that the book is historical fiction but Margaret did take every piece of historical fact and weave it into the story, which makes it so difficult to make up your mind whether she did it or not.”

Look for more exclusive Alias Grace interviews with cast members Sarah Gadon, Kerr Logan and Rebecca Liddiard in the coming weeks.

Alias Grace airs Mondays at 9 p.m. on CBC.

Images courtesy of CBC.

 

 

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Links: Bad Blood

From Tony Wong of the Toronto Star:

Link: Tales of Canada’s Teflon Don captivated producer behind TV series Bad Blood
It wasn’t a good omen.

The first day of filming on his Montreal Mafia series Bad Blood, executive producer Mark Montefiore turned up on set to see the crew reading newspaper reports on the assassination of underworld figure Vincenzo Spagnolo.

Spagnolo was reputedly the lieutenant of deceased crime boss Vito Rizzuto. And executive producer Montefiore just happened to be doing a TV series based on Rizzuto’s life. Continue reading.

From Bill Brioux of The Canadian Press:

Link: Actor Paul Sorvino won over by role of Nicolo Rizzuto, script for Montreal Mafia series
It was December, not exactly prime tourist time in the Ontario city some 400 kilometres north of Toronto. But Sorvino made a point of seeing the sights while he was there shooting City’s upcoming six-part series “Bad Blood,” a project he says won him over with its great script. Continue reading.

From Melissa Girimonte of The Televixen:

Link: The Cast of Bad Blood Talks About this Unique Crime Tale
Six-part event series Bad Blood kicks off tonight on City, and it is really unlike any other mafia story we’ve seen. Inspired by the story of Montreal’s famous mobster Vito Rizzuto, it filmed in both Montreal and Sudbury, ON last winter. Produced by New Metric Media and Sphere Media Plus, it is loosely based on the book Business Or Blood: Mafia Boss Vito Rizzuto’s Last War by Antonio Nicaso and Peter Edwards. Continue reading.

From Bill Brownstein of the Montreal Gazette:

Link: Plenty of Bad Blood will be spilled in Rizzuto TV series
Montreal is the backdrop for our very own take on The Sopranos, with a tinge of The Godfather and Goodfellas tossed in for good measure. But whether the focus be on good or bad guys, Montrealers — who often possess a twisted notion of civic pride — tend to get a kick out of seeing famed native sons and daughters on screen. And that’s precisely what we have here. Continue reading.

 

 

 

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The Nature of Things returns with stunning “The Wild Canadian Year”

It’s no secret that I love documentaries. No matter how jam-packed my days and nights are, I can always find time for another doc. The best is not only educational but beautifully filmed, impeccably scored and wholly entertaining. That’s certainly the case for “The Wild Canadian Year,” the five-part documentary kicking off the newest season of The Nature of Things on CBC.

Moving to Sundays at 8 p.m. this fall, “The Wild Canadian Year” is the perfect way to start the long-running series’ season. Filmed by award-winning documentary filmmakers Jeff and Sue Turner of River Road Films, “The Wild Canadian Year” turns cameras on this country’s wildlife during the four seasons (the fifth episode is a making of). It all begins Sunday with spring, as Arctic fox pups take their first steps and black bear cubs learn to climb trees after the long cold days of winter while female caribou make the dangerous trek to reach their calving grounds.

With 4K ultra-high definition providing the visuals and the Vancouver Symphony Orchestra the soundtrack, “The Wild Canadian Year” truly is a spectacle. I don’t have 4K in my home, but watching a screener of Episode 1, I can only imagine how incredible this project looks. My laptop’s retina screen captured amazing details—droplets of water as part of a thunderous waterfall, the nostril flare of a seal, the feathers on a hummingbird—so the better the screen the more breathtaking this will appear.

A spectacular 75 stories were recorded in Canada’s provinces and territories for the series, beginning Sunday with a caribou herd in northern Quebec that treks far north while the area’s lakes and rivers are still frozen. The animals follow each other, creating a beaten path that expends far less energy than breaking new ground. That energy store is needed at a moment’s notice: the pack is constantly hunted by hungry wolves.

Fauna isn’t the only thing to be focused on in “The Wild Canadian Year.” The thundering Hay River is explored next, as thick ice plunges over a waterfall creating into the vicious tumult below. Then it’s to the boreal forest of the east where a truly fascinating thing is documented. Cameras show the rebirth of a tree frog, frozen solid during the winter months thanks and revived during the snow melt. The camera work is so detailed you can see cataracts of ice over each eyeball and its first breath of the new year.

“The Wild Canadian Year” is the stunning result of nature and technology combining stellar storytelling set to a magnificent soundtrack. Don’t miss it.

The Nature of Things returns Sunday, Sept. 24, at 8 p.m. on CBC with “The Wild Canadian Year.”

Images courtesy of CBC.

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Link: Montreal mafia series Bad Blood is bloody good

From John Doyle of The Globe and Mail:

Link: Montreal mafia series Bad Blood is bloody good
Based on the book Business or Blood: Mafia Boss Vito Rizzuto’s Last War by Antonio Nicaso and Peter Edwards, it is a very superior docu-drama: gripping, richly textured and unfussily focused not just on the violent dynamics of a successful mob operation but on what happens when a strong leader is absent and the centre of power disintegrates. It is also, in a peculiar way, about Canada and our way of doing things. Continue reading.

 

 

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