Tag Archives: Featured

Continuum’s end … and new beginnings

Well, that’s it then. Continuum‘s series finale on Friday night was a mixture of emotion, action and … hope. Creator Simon Barry and cast members Rachel Nichols, Victor Webster and Stephen Lobo did tell me the show’s final stanza would incite discussion, and they were certainly right.

Since Season 1, future cop Kiera Cameron has been trying to get back to 2077 Vancouver to be with her son. And she got that, though not exactly the way she wanted it to be. The Kiera Cameron we’ve followed for the past four seasons did step from 2015 Vancouver back to her home time, but had to settle for seeing a version of herself happily playing with Sam next to a idyllic fountain. Turns out the sacrifice she made to make Sam’s world a better place meant our Kiera couldn’t be with him, a bitter pill to swallow but at least she got back home, right? And what a home. Thanks to the actions of everyone in 2015, Vancouver 2077 is now a place devoid of violence, war and corrupt companies, a city where the police wear form-fitting t-shirts rather than armour. A place of light rather than dark. Reunited 60 years after she left Vancouver, the aging Alec hugged The Protector and explained how he, Julian and Edouard had worked together to make the world better for all.

“Final Hour” was full of memorable moments, cameos and Easter eggs that made the Continuum fan in me giddy. Kiera and Carlos’ goodbye was heartfelt and tearstained (Thank goodness Barry never got those two together romantically; it would have ruined their relationship.), producer Jonathan Walker played the lead cop that got his head blown off by a rampaging Weaver, and Carlos’ dedication to the Vancouver Police Force was recognized by a sweet memorial.

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Not so sweet? Kellog’s fate. Well, at least not for him. The man who always made sure he covered his butt first did exactly that on Friday night, pitting his own Piron security force against the VPD so that he could escape 2015 and back to his future. Trouble was, Alec had futzed with Kellogg’s time ball and he didn’t go back to 2077. Who else cackled out loud when Kellog said, “Oh, that little shit,” when he spotted B.C.’s First Nations people peeking out from behind trees at the weirdly-dressed stranger? Kellog won’t be making any adjustments to the time ball from there, will he?

With only six episodes in the season, not every storyline was tied up neatly. The revelation Vasquez was Kellogg’s daughter was too easy to spot, the Time Traveller angle felt rushed (I’m sure it was) and I’d loved to have found out how Garza’s life turned out. Still, those are minor quibbles for a series that was given six episodes to finish up rather than ending abruptly with Season 3’s cliffhanger. I’ll take what I can get and be thankful for it.

What did you think of “Final Hour”? Let me know below or via Twitter at @tv_eh.

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Great Canadian Cookbook celebrates country’s smorgasbord

Food Network Canada’s Great Canadian Cookbook is a multi-platform project designed to celebrate and inspire with recipes reflecting this country’s diversity, and Noah Cappe knows exactly which family recipes he’d share with viewers.

“Growing up, my mom was famous for her chocolate chip mandel bread,” Cappe says during a break in filming Season 3 of Carnival Eats. “And for my dad, to this day I still think he makes the best French toast with McCutcheon’s maple syrup. Everybody has something in their family someone makes that transports you to growing up and those are it for me.”

Cappe and celebrity chef Lynn Crawford co-host Food’s ambitious Great Canadian Cookbook, part docu-series, part recipe source, part celebration of Canada. Launching Monday with four back-to-back episodes, the television segment of Cookbook finds the foodie duo hitting the East Coast, Ontario, Prairies and West Coast in search of tasty recipes, touching stories and interesting characters. You don’t get more interesting than Episode 1 in St. John’s, where Crawford experiences brunch at Mallard Cottage, a Jigg’s Dinner hosted by firemen and a music-infused house party fuelled by cod tongues and scrunchions. Cappe, meanwhile, visits Lunenburg and Dartmouth, Nova Scotia, sampling lobster rolls, lobster-topped burgers and to-die-for homemade bacon.

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“A show like this is as much about the people as it is about their recipes,” the Toronto-born actor says. “It’s really nice to see how each story is built through the landscape, the person, their story and then through the food.” He likens Cookbook to chef-author Anthony Bourdain’s CNN series Parts Unknown, that uses food as a stepping stone to learning about other cultures and peoples. Over 20 nationalities contribute to the four-part Cookbook.

The series serves as a path to FoodNetwork.ca, where recipes from the episodes are combined with extra video content of Crawford cooking with celebrities, making sausage in Saskatoon and foraging  for mushrooms and Cappe icing cakes in Winnipeg and sampling Nanaimo bars in B.C.

Cappe spent two days in each locale, filming for the television show and website, eating, talking and gathering some of his favourite recipes to re-create at home, though he won’t be the one making them.

“I don’t cook, but I’ve given all of my favourite recipes to my dad, ” Cappe says. “He loves cooking and I love eating. It’s a win-win for me!”

All four episodes of Great Canadian Cookbook air Monday, Oct. 11, beginning at 3 p.m. ET/noon PT on Food Network Canada.

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Comments and queries for the week of October 9

Academy announces host for Canadian Screen Awards

It’s interesting that many think that Andrea Martin is Canadian and Norm Macdonald is not. The reason: she works in Canada and can be seen doing Canadian talk shows, etc. Norm certainly doesn’t celebrate his nationality and only came back to work in Canada (a voice that could have been recorded from his sofa in L.A.) when his career dried up in the U.S. It seems all these Canadian-born people only come back to their home and native land when they can’t get work in their adopted country. Andrea Martin is more “Canadian” than many of these Canadian-born people. —Denis C.


Murdoch Mysteries frees Crabtree

The premiere episode was skillfully written with all the attention to detail that we have come to expect from this amazing show. The writers continue to keep us guessing as the plot unwinds. The characters continue to enthrall us and keep us so involved in their lives both on and off screen. Tonight’s episode kept us on the edge of our seats, smiling at the witty remarks and outright laughing at the “stupidity” as Giles put it of some of the criminals and sighing with contentment with Jilliam’s loving relationship. All in all, it was wonderful!! —Karen


Stellar Keeping Canada Alive brings depth and breadth to medical reality genre

In addition to a close-up look at our health care system, I thought it was a great show with a beautiful snapshot of humanity dealing with adversity. That being said, I found it almost too much at times and if that baby had died, I would have been out of there, fast!

I expected, but did not see, any analysis of what things cost or if we were meeting goals of wait times, etc. Did all that therapy, surgery and out patient stuff shown on the program cost the users anything? I’d like to know. I know there are big issues about the cost of medicine. For some people, drug costs can be a choice between life with poverty, or death.

Technical note: the “slide show” device, clicking between locations with the picture sliding out was annoying and over done. Whenever they did it, I heard myself say to the TV, “please stop that.”

Overall, though, it was an excellent program and I’ll tune in again. —Gary


Continuum blasts into its final season

I have always loved sci-fi movies and series, and Continuum is one of those TV shows or might as well be on the big screen that when you first see it your jaw drops! The sets in the future were so well done, the future cities, the traveling on air vehicles, every single detail has been given proper attention. I just picked up the series on Netflix, not sure why I never heard of it until now, on the shows’ final season year but I am glad I did. I think the show should have been more promoted; after all it’s rated five stars on Netflix. —Yodi

 

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

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Comparing the major party platforms on culture

There are a lot of issues at play in this federal election but we know that readers of TV, eh? are particularly interested in federal government support of Canadian culture and specifically Canadian television.  The following outlines and compares the major party platforms (to the extent they exist at the date of posting) on Canadian culture.

Note that I have pulled the platform promises from the party announcements (with links) and added any additional information that I could find.  I’ve added in clarifications from the NDP and Liberals (no response to my enquiry to the Conservatives) and as well things that were said by Andrew Cash (NDP) and Stéphane Dion (Liberal) at the Screen Industries Debate held October 7, 2015 in Toronto (there was a last minute cancellation from the Conservative representative). I have submitted a few follow up questions to the Liberals and the NDP and will update this post when I receive answers.

Conservative Party

There have been no party platform announcements on Canadian culture from the Conservative Party.  The closest thing to a platform announcement was Stephen Harper’s video promising to not tax Netflix or similar streaming services and claiming that the Liberals and NDP would do so.

Fact Check – neither party has taken the position that Netflix should be taxed but have at the federal Heritage Committee supported Netflix providing more data such as the number of Canadian subscribers and number of Canadian programs in their catalogue (the data they refused to give the CRTC).  This was repeated by Stéphane Dion at the debate and Andrew Cash raised the need to ensure fair payment to creators from OTT distribution as an issue but neither went so far as to endorse a ‘Netflix Tax’.

NDP

The NDP recently released their culture platform.  It is not fully costed but includes:

  • $60 million over 4 years to Telefilm and NFB and Canada Council
  • loosen rules to obtain Canada Council
  • income tax averaging for artists and cultural workers
  • promote work internationally through cultural attaches at embassies
  • $10 million digital content fund to fund content to celebrate 2017
  • reverse $115 million cuts to CBC and guarantee multi-year stable funding for the CBC (five years was suggested by Andrew Cash) and an independent process for appointing board members
  • Review the Broadcasting Act as part of a National Digital Strategy (this is not in the platform but was mentioned by Andrew Cash in the debate and by my recollection is the first and only time anyone has mentioned National Digital Strategy during this campaign)

Questions:

  • What is the breakdown of the investment in Telefilm, NFB and Canada Council?
  • What kind of rules need to be loosened to increase access to Canada Council?
  • Why is there no increase in the federal government contribution to the Canada Media Fund, which funds television, convergent and digital content. The CMF has not had an increase since its predecessor was founded in 1996 (other than digital content funds being reallocated from Telefilm to CMF in 2010).  Note that when asked this question, Andrew Cash mentioned looking at decoupling the digital media requirement from television funding through the CMF, which could potentially have a significant negative impact on the Canadian digital media industry.
  • What is the logic behind income tax averaging for artists and cultural workers and not all freelancers?
  • Why is the digital content fund limited to content to celebrate 2017 and not a permanent or ongoing fund?

Liberal Party

The Liberal culture platform has a bit more detail as culture has been included in their fully costed plan:

  • reverse $115 million cuts to CBC and top it up an additional $35 million per year, create a new strategic plan that incorporates the new funding and takes into consideration the new digital world, the CBC board to have merit-based and independent appointments
  • double Canada Council from $180 million to $360 million
  • Telefilm and NFB each receive an additional $25 million per year
  • Restore Promarts and Trade Routes cultural promotion programs and increase funding to $25 million each year
  • Increase funding to Young Canada Works for the next generation of museum staff
  • Invest in cultural infrastructure
  • Review the Broadcasting Act to update it for new technologies
  • Ensure that the mandated Copyright Act review takes place in 2017 (there is a concern that the Conservative Party will not implement the review or may short change it)
  • Allocate some of the promised funding for training to mid-career training for media professionals to help them adapt to new technologies
  • Advance 75-80% of the tax credit payments to improve cash flow and reduce interest costs

Questions:

  • The last 4 points were from Stéphane Dion at the debate. I am trying to get clarification (and confirmation) of the last point in particular as it would be a huge cost savings benefit to the Canadian film and television production industry.
  • Why is there no increase in the federal government contribution to the Canada Media Fund, which funds television, convergent and digital content. When Stéphane Dion was asked this question at the debate, his response was that there had been no agreement by stakeholders appearing at Heritage Committee hearings on what the CMF needed.  It could be more money but it could be guideline changes.  He felt the need for more industry consultation before making a proposal.  It could be that the parties are waiting for Heritage’s internal review of the CMF before making any commitments.  I was also advised by a party spokesperson that the focus was on replacing Conservative budget cuts and the CMF had not been cut.
  • Does the Liberal Party have any plans for a National Digital strategy?

Green Party
The Green Party culture platform has a lot of ideas but no costing associated with it:

  • Increase funding to all of Canada’s arts and culture organizations including the Canada Council for the Arts, Telefilm Canada, orchestras, theatres, and publishers. The goal will be to make increases in this sector commensurate with increases in support over the years for other sectors such as transport, energy, and health care;
  • Provide stable base funding for the CBC so it can continue to provide quality Canadian content television and radio programming in both official languages to all Canadians;
  • Restore CBC international short-wave service;
  • Reverse the CBC application and CRTC approval for commercial advertising on CBC Radio 2;
  • Reverse cuts to suppertime news and local programming in CBC and Radio Canada;
  • Ensure that the Canadian Radio-television and Telecommunications Commission (CRTC) reserves more bandwidth for independent and non-profit stations;
  • Enact legislation that requires cinemas and video chains to have at least 20% Canadian content;
  • Restore and improve arm’s length principles in the governance of arts and cultural institutions and agencies under federal jurisdiction. In keeping with such a position, we believe that the heads of Canada’s cultural organizations such as the CRTC, Canada Council, CBC, and Telefilm Canada should not be appointed by the political party in power but by an arm’s length committee made up of competent people representative of the various diverse stakeholders in Canadian society;
  • Seek greater support and adequate resources for arts grants programs;
  • Seek increased funding incentives for artists and art events to tour Canada’s rural regions;
  • Provide protection for indigenous intellectual and artistic property rights;
  • Increase support for community arts programs and facilities across Canada by establishing stable base funding at a set percentage of the federal budget;
  • Equalize federal funding for arts and culture among provinces, territories, and municipalities to make it consistent with the provinces and municipalities that have the highest current standards;
  • Provide incentives to all provinces and territories to restore and improve arts and culture components in schools and extra-curricular activities, not only in urban but also in rural areas;
  • Extend income tax relief and incentives to artists (on the very successful models established by Ireland and the city of Berlin).

Questions:

Well, lots of questions starting with a costing but in particular:

  • Why is there no increase in the federal government contribution to the Canada Media Fund, which funds television, convergent and digital content. The CMF has not had an increase since its predecessor was founded in 1996 (other than digital content funds being reallocated from Telefilm to CMF in 2010).
  • Does the Green Party have any plans for a National Digital strategy?
  • Will increases to CBC funding make up for the service cuts that the Green Party wants to reverse?
  • How will increased bandwidth for independent and non-profit stations (whatever that means) ensure more independent and non-profit stations exist?
  • Some provinces use provincial funding to incent productions to come to their province instead of another and therefore develop a local industry. The Green Party equalization strategy will prevent that.  Was that intentional?

It is interesting to compare the language of the NDP and Liberal platforms.  The NDP platform emphasizes artists:  “In this election, only the NDP can be trusted to invest in CBC, to invest in Canadian content, and to support Canadian artists.”  On the other hand the Liberal platform talks about culture as an economic generator of middle class jobs:  “A Liberal government will reinvest in our cultural and creative industries, to create jobs, grow the economy and middle class, and strengthen our rich Canadian identity.”

However, I despair that both the Liberals and NDP continue to think that a film and television industry cares about Canada Council grants since the Canada Council funds artists and specifically NOT “work created for the cultural industries of commercial film and television”.  I know that I’ve tried to explain this to MPs and party staffers from all parties and I haven’t been alone.

I would also like to point out that the Liberal Party appears to have relied heavily on Heritage Committee appearances and submissions to know what the industry thinks and is advocating.  It is easy to dismiss these committee appearances as a waste of time because little is done (particularly in the last couple of years) as a result of their hearings but clearly they are a significant way for parties (as well as the government) to gather information.

I will update this post as and if I gather more information.

UPDATE:  The Canadian Media Production Association compiled their own list of party promises including a lovely and handy one page chart here.  Also, the NDP have released a fully costed platform and you can find the costing for the cultural promises on page 70.

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Is House of Bryan: The Last Straw for Bryan and Sarah Baeumler?

Is this it for Sarah and Bryan Baeumler? After having TV cameras in their faces 24/7 for House of Bryan, have HGTV’s super-couple finally called it quits? The latest iteration of the franchise—returning Sunday with back-to-back episodes—is called The Last Straw. So, what gives? Is the title a reference to the show being set on their property close to farmland? Does it refer to this being the last-ever home they’ll renovate together? Or maybe it is, simply, the final steps in creating that forever home they’ve dreamed of.

“Is this the straw that broke the camel’s back and lead to divorce?!” Sarah says with a laugh during interviews at HGTV headquarters. The short answer is, no, the Baeumlers are not severing their marriage. As a matter of fact, their next TV project—read on for details on that—will bring them even closer together. “In the beginning, it was our goal to show our real lives. Bryan said at the very beginning that he wanted to show our house being built and everything that comes along with that, including what a couple goes through. The reality is, we have lives, there are jobs and kids and things happen.”

“Anyone that tells you, ‘I own a construction company and I’m building my house, it went perfectly, we were under budget and ahead of schedule and everybody is happy is full of shit,” Bryan says. “It’s just not like that. It’s not a railroad track. It’s a shipping channel and you’re meandering towards your destination.”

House_Of_Bryan

Things do, however, begin Sunday night without a hitch. House of Bryan: In the Sticks followed Bryan, Sarah and their kids Quentin, Charlotte, Josephine and Lincoln as renovations began on their home. Those episodes showcased how weather and other obstacles pushed construction on the new wing of the property way past the original deadline. Now that section of the home is done, and attention is turned to the original part of the house and the challenges that come with bringing 70s-era style into the present day.

In The Final Straw, Bryan begins the season by taking advantage of Sarah being away for two days and gutting the original structure. In no time, he and his team have dispatched old panelling, addressed some minor moisture issues and prepped for a vaulted ceiling by hauling in a massive beam to provide strength to the structure. As Sarah tells it, Bryan knows his best option is just to begin work on a project and then reveal what he’s done. That way, she can’t say no. Her reactions, of course, make for great TV.

“They’ve gotten quite a few reactions, and have had to edit out some language,” she says with a laugh. What you get from watching the Baeumlers on screen—and in a conference room with no cameras to capture it—is their sense of humour. These two take everything in stride and don’t let construction drama—or what some fans say online—bother them.

As for their next television project? They’ll be working more closely together. Bryan Inc., which began production just a week ago, spotlights Baeumler’s business by following him around during a typical day. Building and renovating homes will be part of it, as well as Sarah becoming more involved in the 60-plus employee company based out of Burlington, Ont.

“As Bryan says, ‘It’s bring your wife to work day. Let’s see how this goes!'” she says. “Bryan does have me sweeping some floors and it’s good to learn a job from the ground up. We have a really great working relationship and we’re expanding on that.”

“There are going to be challenges,” Bryan teases.

House of Bryan: The Last Straw airs back-to-back episodes on Sundays at 9 and 9:30 p.m. ET/PT on HGTV.

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