Tag Archives: This Hour Has 22 Minutes

CBC renews original comedies Run the Burbs, Son of a Critch and This Hour Has 22 Minutes

From a media release:

Reinforcing its status as Canada’s go-to destination for Canadian comedy, CBC today announced the renewal of popular original series RUN THE BURBS and SON OF A CRITCH for their third seasons, and long-running sketch comedy series THIS HOUR HAS 22 MINUTES for its 31st season. These series join Peabody Award-winning comedy SORT OF, which was renewed for a third season in December 2022 by CBC and HBO Max, as part of CBC’s 2023-24 comedy slate. CBC comedies were recently recognized with 54 Canadian Screen Award nominations, including Best Comedy Series for SORT OF and Best Sketch Comedy Program or Series for THIS HOUR HAS 22 MINUTES. SON OF A CRITCH is also among the Top 5 series currently in the running for the 2023 Cogeco Fund Audience Choice Award.

Created by comedian, writer and actor Andrew Phung (Kim’s Convenience) and his best friend and collaborator, filmmaker Scott Townend (The Secret Marathon), RUN THE BURBS follows the Phams, a young, bold Vietnamese-South Asian-Canadian family taking a different approach to living life to the fullest, while changing the way we think about contemporary family values and life in the burbs. The series is produced by Pier 21 Films and distributed by Fifth Season. The Season 2 finale of RUN THE BURBS airs Wednesday, March 29 at 8:30 p.m (9 NT) on CBC and CBC Gem.

Based on Mark Critch’s award-winning, best-selling memoir, SON OF A CRITCH is the hilarious and very real story of 12-year-old Mark coming of age in St. John’s, Newfoundland in the 80s. Created by Critch (This Hour Has 22 Minutes) and Tim McAuliffe (The Office, Last Man on Earth and MacGruber) and produced by Emmy® and Golden Globe® winning producer Andrew Barnsley (Schitt’s Creek), the series is an inter-provincial co-production between Barnsley’s Project 10 Productions Inc. and Newfoundland-based Take the Shot Productions in association with CBC and Lionsgate Television, which handles worldwide distribution rights outside Canada. This season, SON OF A CRITCH is the most-watched English Canadian comedy series and CBC’s most-watched program with 18-49 and 25-54 audiences.* The Season 2 finale of SON OF A CRITCH airs Tuesday, March 28 at 8:30 p.m. (9 NT) on CBC and CBC Gem.

Canada’s longest-running TV comedy series, THIS HOUR HAS 22 MINUTES continues to push the boundaries of provocative satire, targeting politics, culture and world events with biting parodies and an unrelenting skewering of the weekly news. Produced by IoM Media, the series remains a beloved sketch comedy staple for audiences across the country after three decades, and has featured some of Canada’s greatest comedians – and most of the country’s political leaders. The finale of THIS HOUR HAS 22 MINUTES’ 30th anniversary season airs Tuesday, March 28 at 8 p.m. (8:30 NT) on CBC and CBC Gem.

In addition, CBC continues its commitment to showcasing emerging and established Canadian stand-up talent with returning specials and series for the 2023-24 broadcast season. Recently captured at Just For Laughs Vancouver and produced by Just For Laughs TV, Season 4 of THE NEW WAVE OF STANDUP showcases Canada’s hottest new comedians (Season 3 debuts Friday, March 24 on CBC Gem). Also from Just For Laughs TV, Season 20 of JUST FOR LAUGHS GALAS will offer the best-known international and Canadian stand-up comedians, alongside exciting breakout performers, from the world’s biggest comedy event in Montreal. WINNIPEG COMEDY FESTIVAL (Season 22, Frantic Films) and HALIFAX COMEDY FEST (Season 27, Pilot Light Productions) round out CBC’s comedy lineup for the upcoming broadcast season, capturing some of the most dynamic performers on today’s circuit.

*Source: Numeris TV Meter, September 12, 2022 – March 5, 2023, CBC Total, Total Canada, Based on AMA, Confirmed Audience Data, generated by InfoSys+TV.

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CBC’s iconic This Hour Has 22 Minutes celebrates historic 30th season with a live taping in Toronto

From a media release:

THIS HOUR HAS 22 MINUTES (24×30) returns to CBC and CBC Gem on Tuesday, September 13 at 8 p.m. (8:30 NT) for a historic 30th season that includes a live taping at the Glenn Gould Studio in Toronto and a special episode that explores what has made the show a cultural touchstone for viewers across Canada over the past three decades.

TRENT McCLELLAN, ABA AMUQUANDOH, STACEY McGUNNIGLE, and 22 Minutes veteran MARK CRITCH are back on the news desk of Canada’s longest-running TV comedy series, continuing to push the boundaries of provocative satire; targeting politics, culture and world events with biting parodies and an unrelenting skewering of the weekly news. With a legacy that spans three decades, 22 Minutes remains a beloved staple for television audiences across the country and has also cultivated a large and dedicated online following. Throughout the duration of Season 29, the show’s social media audience grew by over 650,000 followers collectively. Season 29 also marked a successful introduction to TikTok, with their account earning roughly 82.2 million video views and 9.1 million likes over the course of the season.

This season, 22 MINUTES will celebrate 30 years with two special episodes:

22 MINUTES AT GLENN GOULD STUDIO (October 4), will be filmed in Toronto before a live studio audience of politicians, newsmakers and stars from the world of Canadian comedy.

THIS SPECIAL HAS 30 YEARS (October 11), is a retrospective episode that will look back at 22 Minutes’ history while exploring what has made the show such a groundbreaking cultural force over its 30 seasons, featuring interviews with cast, creatives, and collaborators including Rick Mercer, Mary Walsh and Peter Mansbridge.

The series is filmed in front of a reduced live audience in its new studio and production facilities at the Light House Arts Centre in Halifax, where the show employs an integral and experienced crew across all production disciplines to bring the show to life every week.

This Hour Has 22 Minutes is produced by IoM Media: Executive Producers Mike Allison and Michael Donovan; Producers Meaghan Clark, Carl Gosine, Tracey Jardine, and Dana Landry.

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Mark Critch’s childhood comes to life in the heartfelt and hilarious Son of a Critch

CBC was delivered a one-two punch to its primetime comedy lineup when Schitt’s Creek and Kim’s Convenience both ended. Thankfully, the huge holes left by those two wonderful series are being filled by equally special projects this winter, Son of a Critch and Run the Burbs.

Debuting Tuesday at 8:30 p.m. on CBC and CBC Gem, Son of a Critch—co-created by Mark Critch and Tim McAuliffe—brings Critch’s childhood to life in a hilarious and truly relatable way. Based on the award-winning, best-selling memoir by Critch, the comedy tracks 11-year-old Mark (played by Benjamin Evan Ainsworth) as he heads off to a new school in 1980s St. John’s, Newfoundland.

As a child of the 80s, I was immediately drawn in and related to Young Mark and what he was going through. What kid hasn’t felt out of place in his own skin, and tried mightily to fit in? Throw in a rocking soundtrack of 80s tunes complemented by music from Keith Power and Alan Doyle, a cast that includes Critch as his own father, Mike, Claire Rankin as his mother, Mary, Malcolm McDowell as his grandfather, Pop, and Colton Gobbo as his brother, Mike Jr., and Son of a Critch is instantly enjoyable.

“It was very strange,” Critch says of being on the set of the television show for the first time. His family home, torn down in the 1990s, was recreated from his sketches and memories. And parts of his wardrobe, as Mike Sr., were his father’s.

“I remember looking down at one point and seeing my grandmother’s wicker chair in my peripheral vision, the radio that I listened to every day during the winter to see if it was going to be a snow day and wearing my Dad’s jacket and thinking, ‘I’m inside a memory.’ And then looking over and seeing Malcolm McDowell and saying to myself, ‘You sick fool, you should be talking to a therapist about this!'”

McDowell is just the tip of the iceberg in a stunning cast assembled for Son of a Critch. It all starts with Benjamin Evan Ainsworth, who puts everyone else on his back to carry the series as Young Mark. The British actor, who most recently appeared in The Haunting of Bly Manor, pulls in viewers with his large, soulful eyes and sensitive performance.

“I’ve never seen anybody better than Benjamin,” Critch says. “I’ve never had that Hollywood experience, where he was doing his audition and I said, ‘Stop, we need to get that guy. Here are my keys and my house, just get that guy!'”

Son of a Critch airs Tuesdays at 8:30 p.m. on CBC and CBC Gem.

Images courtesy of CBC.

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CBC and Lionsgate reunite with Andrew Barnsley and Project 10 for Mark Critch’s original comedy Son of a Critch

From a media release:

CBC, Canada’s public broadcaster, and global content leader Lionsgate (NYSE: LGF.A, LGF.B) are partnering with “Schitt’s Creek” Emmy® and Golden Globe® winning producer Andrew Barnsley and comedian-actor-writer Mark Critch to bring “SON OF A CRITCH” (13×30) to audiences in Canada, the U.S. and around the world. Created by Critch and Tim McAuliffe (“The Office,” “Last Man on Earth,” and the upcoming “MacGruber” series) and based on Critch’s award-winning, best-selling memoir Son of a Critch: A Childish Newfoundland Memoir, the CBC original series will premiere on CBC TV and CBC Gem in Canada in January 2022, with Lionsgate handling U.S. and international distribution rights.

“Son of a Critch” is the hilarious and very real story of 11-year-old Mark coming of age in St. John’s, Newfoundland in the 80’s. It’s a heartfelt window into the life of a child – much older inside than his 11 years – using comedy and self-deprecation to win friends and connect with the small collection of people in his limited world. With production starting today in St. John’s, Newfoundland, the comedy stars Mark Critch as his father and Benjamin Evan Ainsworth (Pinocchio) as young Mark. Ainsworth can currently be seen as one of the leads in the limited series “The Haunting of Bly Manor” for director Mike Flanagan on Netflix, and stars as Pinocchio opposite Tom Hanks in Walt Disney Pictures’ upcoming live action remake of Pinocchio for director Robert Zemeckis. Additionally, Claire Rankin (Molly’s Game) has been cast as Mark’s mother, Mary, alongside newcomers Sophia Powers and Mark Rivera, who are cast as classmates of young Mark. Golden Globe nominee Malcolm McDowell (A Clockwork Orange) to star as Pop.

The project is a very personal one for both Critch and McAuliffe, as the two have been friends dating back to working on “This Hour has 22 Minutes” together.

A CBC original series, “Son of a Critch” is an inter-provincial co-production between Barnsley’s Project 10 Productions Inc. and Newfoundland-based Take the Shot Productions in association with CBC and Lionsgate Television, and executive produced by Critch, McAuliffe, Barnsley, Ben Murray and Allan Hawco. Renuka Jeyapalan and Anita Kapila serve as co-executive producers with Jeyapalan directing the first four episodes of the series.

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Radio One’s Because News brings laughs to primetime TV

When it came to creating Because News, Gavin Crawford looked across the pond.

“When we were first figuring out what will it be and what will we do, I was like, ‘Let’s steal the British ideas,’ because those are the shows I like,” Crawford recalls. Created by Crawford, Elizabeth Bowie and David Carroll, the long-running Radio One program recently made the jump to a new platform.

Airing Sundays at 7 p.m. on  CBC (and Saturdays at 11 a.m. on Radio One), Because News features host Crawford and a rotating panel of comedians, sketch performers and funny people who make games out of the week’s news.

Last week’s radio and TV episode welcomed Andrew Phung (Kim’s Convenience), Jennifer Whalen (Baroness Von Sketch Show) and comedian Martha Chaves, and poked fun at Halloween amid the pandemic, COVID-19 itself and the U.S. election. Best known for his work on The Hour Has 22 Minutes and  The Gavin Crawford Show on The Comedy Network, we spoke to the Second City alum and Gemini Award-winner about adding TV cameras to Because News, how the show is written and tight-turnaround times.

Did you always hope Because News would become a television show?
Gavin Crawford: When we first started doing the show, I always thought there was a possibility if it worked out it could translate, just simply because there are so many British ones that fulfill those same things. When we were first figuring out what will it be, what will we do, I was like, ‘Let’s steal the British ideas,’ because those are the shows I enjoy watching. And so we always tried to model it that way, that it would be modular. Then, I guess, partly because it’s me and I like to do voices and characters, we would end up making things like fake movie trailers. But I guess I always had in the back of my mind, if CBC ever wants to do cross-platform stuff, it’s something they could actually manage to do.

Was it you and Elizabeth Bowie who developed the show together?
GC: Yeah. Basically, Liz and David Carroll came to me and said, ‘We’ve got a green light to make a pilot of a news quiz, and we think you’d be a good host for that. Is that something you’d want to do?’ Once we had established, ‘OK, it’s going to be me,’ we tried to figure out what we wanted to do. In my experience of watching those shows, I wanted it to be about the comradery of the panellists.  wanted us to be able to tease each other. I don’t want the answers to be necessarily that hard or important. I don’t want to try and solve a refugee crisis. We want to take the ball of news that everyone has and have fun with it where we can and make fun of the people in power. But, in a weird way, they are less game shows than they are talk shows.

I always tell the panellists, ‘You don’t have to get the right answer. You can say wet socks and a cat, for all I care. Let’s be able to take the time to riff with each other and take up ideas and improvise, the way that a lot of the people on the show are improvisers and comedians.’ So that’s what we like to do and to try and make sure that there’s enough space for that.

How difficult was it to take this show that’s made for the radio and translate it to TV? 
GC: There are definitely difficulties that you don’t have on radio. But it wasn’t too hard, because we made a conscious decision not to reinvent the wheel. I like the show the way it is, and if it was on TV, I still want it to be that. The hardest thing was how do we get people in a studio together, with the pandemic, knowing that we have to space everybody eight feet apart?

There are little technical things like how do you just keep a comradery going when you know they’re going to cut to a wide shot, and it’s going to look very wide. Those are things that you have to think of. And then there are weird technical things. If you show a graphic or TV, everything has to be triply sourced and thrust through legal. The hardest thing is clearing everything from the team of lawyers, and being like, ‘We need this clip of Trump saying this funny thing.’ Whereas on the radio, that’s a five-minute job. And on TV it’s a day and a half.

I listened to the most recent episode on the radio and noted there were a few segments there that weren’t on the TV episode.
GC: The radio is always five minutes longer, so just from a time standpoint, there’s always going to be an extra round or something on the radio that doesn’t make it to the TV. I don’t actually mind, because it gives you a reason to see things on different platforms, as opposed to a show that would be the same from one to the other, and you just pick and choose where you listen to it.

You record and film the show on Thursday, and then you’re turning this around to be ready for television broadcast on a Sunday. 
GC: It’s a very quick turnaround. That’s why those British panel shows look like that because they’re very quick. You don’t get a lot of time to edit it and things like that. There’s a number of things that I’d love to be able to do that we just can’t do time-wise. So, we try to filter in what we can do. But it’s tricky because sometimes the news doesn’t even set itself until Wednesday night. And you’re pulling graphics on a Tuesday afternoon. And of course, everybody wants the most heads up they can get on everything.

You’re having to keep on top of things happening in Canada and around the world for the show. Do you ever just feel overwhelmed?
GC: Oh yeah. I call it Bad Mood Tuesday, where after a weekend of combing through what’s going on to see what we’ll have the next week, I’m always in a bad mood on Tuesday. Then we try and lift ourselves out of it. ‘OK, what will put us in a good mood?’ And then we get to joke around about things, and the other writers come in, and then we’re like, great. I feel that’s maybe how the audience also feels. Our job is to be like, ‘OK, well, here’s your good news,’ Sunday night or Saturday morning when all these things you’ve been hearing about all week. Here’s the way you can hear about them that maybe doesn’t make you want to hide in the woods.

Because News airs Saturdays at 11 a.m. on Radio One and Sundays at 7 p.m. on CBC and CBC Gem.

Images courtesy of CBC.Facebooktwitterredditlinkedinmail