Tag Archives: Featured

Featured, Podcast, Rookie Blue, Saving Hope, X Company

TV Eh B Cs podcast 38 – Erica Durance & Adam Pettle: The Ghosts of Christmas Hope

Erica_Durance

A workday conversation with Saving Hope lead Erica Durance and showrunner Adam Pettle. Saving Hope is CTV’s enduring supernatural medical drama that centres around the lives of the doctors and nurses of Hope Zion Hospital.

Erica has spent the last decade and a half in film and television, before Saving Hope probably most noted for her work as Lois Lane on the popular CW series Smallville. In addition to being the lead on Saving Hope, she’s also a producer and, as we learn in our discussion, a new director as well.

Adam is a graduate of the National Theatre School of Canada’s playwriting program, whose most popular play Zadie’s Shoes has been produced across Canada as well as in the U.S. and the UK. He’s worked on several Canadian and American television series, including Combat Hospital, King, Rookie Blue, X Company, and Saving Hope where he became showrunner this season.

We talk about the upcoming holiday episode, transition through Erica’s getting called back to the set, and learn a whole bunch about the show that fans can’t seem to get enough of.

Listen or download below, or subscribe via iTunes or any other podcast catcher with the TV, eh? podcast feed.

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Blackstone, Featured

Blackstone prepares for the end

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With just one more episode left—the series finale is set for Dec. 22—Blackstone is hurtling along. The show is dense, with lots of moving parts and some storylines that have been around for several seasons. That’s a lot to try and wrap up with just two hours left, and I’m pretty sure not everything will be nicely wrapped by then either; this is Blackstone after all and nothing seems to conclude happily.

“Retribution” does advance several storylines, however, as a number of characters see light at the end of the tunnel or prepare for the worst. Last week’s instalment, “The River’s Edge,” was a horrifying and realistic peek into sexual assault as Trisha was attacked by a trio of thugs. The tale took an equally awful turn when it was revealed Jack’s nephew was the ringleader, leaving Daryl caught in the middle between family and his business partnership. Daryl decides what side he wants to come down on and the repercussions of his actions will resonate in the finale.

Andy, always quick to make things happen (especially when it’s in his favour) is positively sprinting around Edmonton, threatening Jack and Travis and begging for money to get Blackstone’s girls off the streets and given some support. It’s almost as if he’s trying to get as much done before something bad happens. Andy’s cough is getting worse, and with nothing else to lose, I can’t help but wonder how far he’s willing to go to help Daryl get out of his jam.

Gail continues on her artistic path, growing in confidence so much—was it really just a couple of weeks ago she was hiding her work?—that she’s painting in the middle of the band office. The fact she’s continued to paint is inspiring in itself, but what happens between she and Trisha put a lump in my throat. Gail has grown so much during the past two seasons, it’s inspiring to not only see her take control of her life, but inspire others to do the same.

But with just one week left after tonight, there are still questions that need to be answered.

  • Will the remaining kids stay with Smokey?
  • What’s causing Andy to cough up blood? Will he survive the series finale?
  • Will Daryl lose the club?
  • Will Wilma pass away?

The series finale of Blackstone airs Tuesday, Dec. 22, at 10 p.m. ET on APTN.

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Featured, Heartland

Heartland’s tense midseason finale

Talk about a nail-biter of a midseason finale. Sunday’s newest episode of Heartland, the final one of 2015, was unlike any I’ve seen since I started watching the show. Gone were the feel-good, happy endings we’re used to getting, replaced by scary scenes and poisoned animals.

The focus of “A Matter of Trust” was Georgie and Lou’s deteriorating relationship. Heartland hasn’t shied away from portraying the struggles associated with a family ravaged by divorce, but Sunday took another step, first by having mother and daughter wage war over lies, trust and responsibility and then with Georgie running away to Vancouver and leaving her cell phone behind at the ranch. Yes, Georgie is maturing and moving past that awkward phase and taking her first tentative steps into being a woman. She’s not there yet, but she sure wants to hang with and be accepted by the older girls. Everyone can relate to a storyline like that, and Georgie’s feelings. This being Heartland, I’m assuming Georgie will make it to Peter’s door unscathed, but that knowledge certainly didn’t take the edge off that final scene of her alone in the dark and wandering down the street. (As an aside, I hope Michelle Morgan receives a Canadian Screen Award nomination for her work this season; she deserves it.)

Meanwhile, an environmental disaster threatens the life of Phoenix. It’s been awhile since Heartland dealt with that angle, and having Rusty and then Phoenix succumb to poisoned water was tough to watch. Rusty has been treated and is on the road to recovery, but Phoenix may not be so lucky. Georgie’s disappearance means he’s not getting any attention and he needs someone to notice he’s not doing well. Fingers crossed Amy or Ty head back to the barn and discover the horse is in bad shape.

Heartland returns Sunday, January 10, at 7 p.m. on CBC.

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Featured, Industry News

Quality, quantity and creative questions for the CRTC

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Originally published in Reel West Magazine:

If Jean-Pierre Blais were a television writer instead of the chairman of the Canadian Radio-television and Telecommunications Commission (CRTC), every show he wrote would be gold. Apparently.

Earlier this year he summarized the findings of the Talk TV hearing in an “Age of Abundance” – his more charitable description of today’s “peak TV,” FX CEO John Landgraf’s epithet for what he sees as a content bubble where “this is simply too much television.”

Blais is nothing if not optimistic, though. He thinks he has found a way to make less, better. From his speech to the Canadian Club of Ottawa as released to the media:

“We want creators and distributors to choose quality over quantity. Such an approach creates a virtuous cycle where the industry invests to create better programs, which in turn bring more value into the system, which in turn generates more money to re-invest in content made by Canadians. More importantly, it creates an environment where Canadians want to watch content made by our creators – not because it is forced upon them, but because it’s good. Indeed, because it is great.”

Isn’t that cute? It’s like it’s never occurred to him that you don’t get quality without quantity. That if you look at the most successful television industry in the world, an average of about 65 percent of new shows are cancelled in their first year.

Plus, how do you measure quality? Are we talking low-rated The Wire, one of the best TV shows of all time, or are we talking high-rated NCIS that appears on few best lists?

However you define it, it seems evident that quality TV is a by-product of the mass production of TV. Since it’s not evident to Blais, for one, science can provide the evidence.

Writer Jonah Lehrer — whose interests lie in the areas of psychology, neuroscience, and the relationship between science and the humanities — pointed to a recent experiment published in Frontiers in Psychology: “Quantity yields quality when it comes to creativity.”

The psychologists and neuroscientists involved gave their subjects a graphic and told them to write down as many things as they could that the drawing suggested to them, with the answers scored for their creativity. The researchers gave each subject intelligence and personality tests and measured their cortex, and after all their sciencing, they concluded that the quantity of ideas was related to the creativity of the ideas – those who came up with the most ideas also had better ideas.

Earlier, psychologist Dean Keith Simonton had proposed the equal odds rule: “the relationship between the number of hits and the total number of works produced in a given time period is positive, linear, stochastic, and stable.”

The people with the best ideas have the most ideas … as well as some of the worst ideas. Deadwood and John From Cincinnati came from the same brain, as Lehrer points out. Pablo Picasso created more than 20,000 works of art. Hollywood’s Golden Age was also one of the most prolific periods for studios, who created a lot of dross along with the gold.

The CRTC’s Blais points to successful international dramas such as Australia’s The Code, the UK’s Downton Abbey, and Denmark’s Borgen and The Killing as proof that brilliant content could happen here. He doesn’t mention the terrible shows those countries produce because, being terrible, they haven’t made their way to Canada. He does mention, but doesn’t connect dots, that Canadian shows such as Slings and Arrows, Rookie Blue, and Murdoch Mysteries are mentioned worldwide as quality shows.

Just as the quality problem as identified by Blais misses the mark, so too do the CRTC’s Talk TV solutions. Blais proposes making more adaptations of Canadian literary hits, because you can never go wrong with a literary adaptation, apparently. Should we break it to him that for every Book of Negroes that garners huge ratings is a Best Laid Plans that doesn’t? Another Talk TV pilot project is to prioritize high-budget dramas – high enough to exceed Downton Abbey and Borgen’s budgets.

In Canada, as broadcasters merge we have a smaller quantity of broadcasters buying shows and therefore a smaller quantity of shows. As CBC cuts their season orders we have a smaller quantity of episodes of each show. Never mind that the Canadian content quotas currently in existence already allow Global to have no scripted Canadian shows for half the year. How can our regulator think quantity is even a factor in our industry?

Lehrer sums up the research on creativity like this: “high levels of creative output are often a prerequisite for creative success. Put another way, throwing shit at the wall is how you figure out what sticks. More shit, more sticks.”

There’s a strange arrogance to the Talk TV conclusions: Blais seems to think Canadian TV can beat the quality odds that plague every other creative endeavour. He’s wrong.

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Featured

Comments and queries for the week of December 4

Your Favourite Canadian TV Shows of 2015

Heartland is such a wonderful family show! We’ve enjoyed every episode together since it started, and it’s by far MY all-time favourite. —Rachel

When Calls the Heart is a refreshing change from many of the shows. The actors, directors and crew are extremely talented and provide so much employment to our local economy. Would live to see this series picked up on our local station in Vancouver. The new show The Romeo Section is great too. Love the actors that were in Intelligence. —Wendy

Heartland is the current No. 1 show. Touched by an Angel is probably my all-time favourite, but I guess it’s not Canadian. —Terry

TORNADO HUNTERS! (: —Paige

Heartland is the only show that has ever been able to hook me. Usually, shows are take it or leave it with me, but I love, love, love Heartland. =) —DJ

No question about it, Tornado Hunters is my No. 1 choice as the best 2015 Canadian TV show. I’ll give The Fifth Estate a close second place, and for options 3, 4, and 5, I will list The Rick Mercer Report, Dark Matter and This Life, accordingly. —Trina

Love Blackstone. Then my reality shows Amazing Race Canada, Big Brother Canada, Chopped Canada and Masterchef Canada. —Pamela

The Road to Discoverability

With me, word of mouth or I’ll glance through everything when it’s time for a new crop of pilots be it fall or midseason. An ad alone isn’t enough to get me to check out something usually. I’m a big Orphan Black fan but didn’t even know it existed in its first season. How’d I catch on? Commenters going crazy over it on several of the sites I visit, not just the reviewers themselves, and luckily CTV itself was running the same ad about 50 times a day for the Season 1 repeats. (They really overdo it though, the same ad over and over again actually irritates the viewer and could turn them against seeing a show, Comedy Network is especially bad for this).

Same thing happened this year with Mr. Robot. TVLine, The AV Club, Entertainment Weekly, Hitflix, IGN etc. and their readers wouldn’t stop praising it. It took Showcase until the end of the U.S. run to air here but it was great. They need to simulcast it next year for it to be worth anything. A day late equals a dollar short in the new digital world. I don’t usually watch crime shows but everyone is talking about Fargo, Season 2 so I might actually catch up when the season is over.

In terms of Kelly’s point about binge watching and then being a season behind, part of this is the networks themselves. They usually don’t have the current season up for streaming until the next year, and only the last five or so episodes on demand. You finished The Flash, Season 1? Too bad, CTV only has episodes 6-8 online and even then you have to sign in with a cable provider if you want to see them.

They are getting a bit better though. Syfy is premiering a show with a huge buzz and Canadian crew in the middle of December about a week before Christmas. That sounds like a way to kill a show, but they released the first episode online last month, and Space did it at the same time for Canadians with access to YouTube. I watched it because of word of mouth buzz and now fully plan to record both episodes on December 14th & 15th, and the 22nd.

Will TV itself and the broadcasters completely die out? No. This abundance of choice and “golden age of TV” is because of consumer appetite. Can the telecoms act like consumers are restricted to them in the same way we often are for cell phones and internet? No. The broadcasters themselves aren’t who I look to guide me to stuff, other viewers are. They can try and filter shows between them but trying to limit viewers to only what they have when conversations about TV are happening globally is impossible especially as the Internet generations get more buying power. They aren’t competing with just two or three Canadian rivals anymore, they’re competing with everyone.

The Big Four U.S. networks have been in a ratings decline for years now. They’ve only officially canceled one show so far this year (Wicked City) and just let the other weak ones show what they have already made. They know launching a new show in a failed timeslot right away is pointless. Streaming has changed the game and both the U.S. and Canadian broadcasters are going to scramble for a while before catching up. —DanAmazing

For me there is only one answer: word of mouth. In 2015, I don’t see ads really. I listen to podcasts (generally from public broadcasters), I watch Netflix, I PVR, I iTunes, I turn my adblocker off for sites I visit frequently but honestly I hardly notice the ads anyway. The only way I find out about new shows/movies is from sites like this one and from recommendations by people I talk to. Fortunately, my Twitter and Facebook feeds are crowded with actors, directors, producers and writers so I get a lot of recommendations.

Still, there are about 25 shows on my list (yes, I have an actual list) that I try to keep up with. The other problem—equally as large in my opinion—is quality. With so many options, shows have to be consistently excellent to stay on the list. They also have to be reasonable original and not formulaic or repetitive. —Justin

Got a question or comment about Canadian TV? greg@tv-eh.com or @tv_eh.

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