All posts by A.R. Wilson

A.R. Wilson has been interviewing actors, writers and musicians for over 20 years. In addition to TV-Eh, her work has appeared in Curve, ROCKRGRL, and Sound On Sight. A native of Detroit, she grew up watching Mr. Dressup and The Friendly Giant on CBC, which led to a lifelong love of Canadian television. Her perpetual New Year's resolution is to become fluent in French.

Jann: Charlie Kerr on meeting Jann Arden, playing Dark Cupid, and Nate and Jann’s relationship

When Jann Arden met Charlie Kerr at a dinner party in Vancouver last year, she immediately wanted him to play Nate, the younger boyfriend of her fictional self, on the third season of CTV’s Jann. However, the pair almost didn’t cross paths that night.

Arden was staying at a cottage owned by Kerr’s father on Bowen Island, B.C., and Kerr—who fronts alt-rock band Hotel Mira and has appeared on TV shows such as iZombie, The Magicians and Supernatural—says he was worried the iconic singer-songwriter would think he was just “another actor-musician … with ulterior motives to collaborate with her” if he turned up at a dinner they had both been invited to. So he initially declined to go. In the end, a friend convinced him to attend the gathering, but he “purposely wore ratty clothing” so it wouldn’t look like he was trying to impress anybody.

Little did Kerr know, Arden was already impressed with him. 

“I sat down and [Jann] already knew who I was and started talking about music,” Kerr says. “I had a song that was doing well on the radio at the time and we were kind of relating to each other on that. And then the subject of her TV show came up, and she started talking about this character Nate, and I think she even said [he was] ‘kind of somebody a bit like you,’ and I was like, ‘Well, I’m an actor; I’d love to audition.’”

Soon after their encounter, Arden began championing Kerr to play Nate. In response, the Vancouver native started an intense workout regimen to change his appearance because, as he explains, the character is “a star in an action TV show, and I have the body of a 13-year old girl.” 

Following a lengthy audition and network approval process, Kerr finally landed the part. “Between going to that dinner and filming, I think it was like seven months,” he says.

Last week, Nate made his debut on the show. Matched with Jann through a celebrity dating app, the TV star—who plays a fantasy action hero called Dark Cupid—at first, appears to have little in common with her. For one thing, he’s a younger man—to the horror of Nora (Deborah Grover), who protests both his age and gender. For another, he’s grounded and isn’t into relationship drama, which makes him wary of Jann’s over-the-top antics when they run into Cynthia (Sharon Taylor) on their first date. But despite this rough start, the episode ends with Nate making pancakes in Jann’s kitchen after spending the night, indicating there might be hope for this odd couple after all.

We spoke to Kerr, who is currently recording new music with Hotel Mira, about what viewers can expect from Nate in coming episodes. 

You have a lot going on creatively. You’re the lead singer-songwriter for Hotel Mira, a band that’s having a lot of success, you’re a screenwriter, and now you’ve also got an important new role on Jann. Can you tell me a bit about how you got into acting and how you juggle it with your other creative endeavours?
Charlie Kerr: I’ve always kind of just loved all of it, and kind of spent my whole life in my dad’s basement writing songs or writing sketches or performing however I could. There was a really long time where I wasn’t any good at any of it, but I was still very passionate. I don’t see too much difference in all of it, it’s all just storytelling, and I’ve been lucky that they really haven’t gotten in the way of each other very many times. I’ve been acting professionally for most of my life, and at the first concert I ever played, I was 10 years old. So my main job and focus have always been wanting to be creative and express and perform. I think it’s just how I feel the most comfortable. It’s kind of like that cliché of belonging on a stage and not feeling like I belong in too many other places.

When I read that Jann would be dating an action star that she meets on a celebrity dating app, I thought the character would be somewhat silly or over-the-top. But Nate is serious and no-nonsense. How did you approach playing him?
CK: I know quite a lot of people kind of like him, who have been on and off sets and want to be treated like they’re normal and kind of want a break from all the glitz and glamour and stuff. That was the main thing that I was thinking about, that Nate is so well known for this part that is nothing like him, and he just wants people to love him for him and show that he’s not just one thing, and I think a lot of people can relate to that. I think that’s a pretty human quality. One of my other favourite things about Nate is he means really well, and sometimes he’s being insulting and doesn’t know it. Being a movie star, being pampered on set, whatever it is, leads to kind of a lack of awareness. Those are the main things about Nate that I wanted to portray: He means well, he’s very loving, but he has a very strange life that’s led to a bit of lack of awareness.

When we spoke to co-creators Jennica Harper and Leah Gauthier, they mentioned that they had to age you because Nate is supposed to be 38 and you’re several years younger than that. What did that involve?
CK: I think my body transforming was a big part of it. I also grew out a beard, and my hair’s super long. I look pretty different than I usually look. And trying to have that maturity wherever I could as well in the performance. One thing I’ve noticed about people growing up and getting to a certain age, is they don’t sweat the small stuff as much. If you’re playing someone younger, everything’s the end of the world. You’re incredibly dramatic at every single moment of conflict, and I think a way to kind of play maturity is to understand that some things aren’t that important and roll with the punches a bit, so I tried to do that as well. 

It’s common to see relationships between older men and younger women in movies and on TV shows, but it’s still rare to see the reverse. Did it excite you to be a part of an onscreen pairing that bucks that trend?
CK: It’s one of my absolute favourite things about it because it’s an age gap that no one would blink an eye at if the genders were reversed. If Larry David had a girlfriend on his show that was a similar age gap, it wouldn’t even be a plot point, and to be a part of something going the other direction and making people think and pointing out the hypocrisy of that was really appealing. It’s really exciting to me to be a part of anything that makes people think or challenges something.

When Nate goes on his first date with Jann, he sees some red flags that initially make him think he doesn’t want to see her again, but then he stays the night. What made him change his mind?
CK: [Jann’s] honesty, authenticity. He mentions how sick of anything vapid he is at this point. So when Jann gets real with him about what she’s going through, I think that’s what really hooks him, and I can relate to that. I think we’ve all fallen in love with or become more interested in somebody once they’re vulnerable with us. 

What was it like to work with Jann Arden?
CK: I think the entire thing was just a dream come true. I never thought I’d get to be a part of an ensemble comedy, especially one this strong. Jann championed me from the beginning. I owe her a lot. But the entire cast and crew is just remarkably fun to work with. I couldn’t believe my job was going to work to make people laugh. That’s so absurdly cool. And she’s so talented and she’s such an awesome leader, and she has kind of hand-picked and curated who she works with in a way where you always feel safe, you always feel taken care of, and honestly, I just loved being a fly on the wall on that set because everyone was so goddamn funny.

Speaking of funny, Nate stars in a fantasy TV series called Dark Cupid, and there were several campy scenes from the show included in last week’s episode. Were those as fun to film as they were to watch?
CK: That was an absolute joy, and it was something I was pretty nervous about because I had the whole body language and voice kind of picked out, and I didn’t know if other people would find it as funny as I did. And the first thing we did was a big table read on Zoom and my first lines are as Dark Cupid, so I started doing the voice and the breathing and stuff and everybody was cracking up, and it was the first time I was able to breathe and be like, ‘OK, I’m probably not gonna get fired.’ So doing that and people digging it, it was such a joy. It was kind of like getting to be in a Marvel thing or a superhero thing. 

From talking to Jennica and Leah, I know that Nate plays a major role in the rest of the season. What can you preview about his journey in upcoming episodes?
CK: He really integrates with the rest of the cast, and I think we get to see just more and more of how human he is and how he enjoys the simple things. I got to work with Patrick [Gilmore] for an entire episode and that dynamic’s really, really fun. I think just as time goes on, you get to see how much of a goofball he is, you get to see the best parts of Jann that appeal to him, why they’re an unlikely match. 

Do you have a favourite episode coming up?
CK: This week’s episode, 305, is a lot of fun. It has a lot of rad, funny moments. And the finale is really cool. Getting to be a part of something with Tegan and Sara was—I never got to meet them—but being involved with them whatsoever was incredibly exciting because The Con was one of my favourite records growing up, so that was a bit of a starstruck moment for me, and an honour. 

Jann airs Mondays at 7 p.m. ET/PT on CTV, CTV.ca and CTV app.

Images courtesy of Bell Media.

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Jann: Co-creators Jennica Harper and Leah Gauthier on writing Season 3 and their love of spoilers

In Jann’s world, COVID doesn’t exist. During the third season of the hit CTV comedy series, serially self-absorbed Jann (Jann Arden) and her family are dealing with 99 problems—including Jann’s lack of funding for a new album, Max’s (Zoie Palmer) new relationship with her biological father Marty (Ron Lea), and Nora’s (Deborah Grover) continuing battle with Alzheimer’s—but a worldwide pandemic isn’t one of them. 

“We want our show to be, first and foremost, entertaining, and it didn’t seem like the right kind of show to be actually addressing a serious worldwide pandemic,” says Jennica Harper, series co-creator, co-executive producer, and showrunner. “So we don’t do that. You can escape for a hot 19 to 20 minutes in our world.”

While viewers likely appreciate a weekly break from the pandemic, Harper and co-creator and co-executive producer Leah Gauthier couldn’t escape the realities of COVID while creating the new season. Social distancing forced the show’s writing staff, including new addition and “instant fit” JP Larocque, to plan and pen all eight of the season’s episodes over Zoom; and once filming began in Calgary, safety regulations dictated everything from the number of people who were allowed on set to the ways cast and crew could interact with each other. 

“No one was allowed to sit in a car with each other, and you have to eat a snack outside, so you’re on a snowbank by yourself,” says Gauthier, adding that the conditions led to “a weird kind of tired that I’m sure people can relate to now that we’ve been doing it for so long.”

Luckily, everyone’s dedication to the rules meant no one got sick during production, and the cast and crew were able to gather together for the show’s premiere party in Toronto a few weeks ago, allowing Harper and Gauthier to see Larocque in person for the first time. 

“It was just so nice to see their face in real life,” says Gauthier. “We formed a connection over Zoom, but it’s so much better when you finally get to meet the people you’ve been working with.” 

We chatted with Harper and Gauthier about their approach to writing Season 3, their newfound love of spoilers, and what we can expect from Jann’s new love interest, Nate (Charlie Kerr), who makes his debut in Monday’s episode. 

You’ve talked about the way COVID impacted your writing process and production. Did it change any of the storylines you wanted to include this season?
Jennica Harper: I feel we were incredibly fortunate because Season 2, as you know, ends with a huge event, the Tunies. Last season, we just threw everything out there, huge galas, just all kinds of events, episodes that had tons of people. Even our school episode in Season 2 was pretty huge by COVID standards, there were so many extras, all the kids. So I felt really fortunate that our conversation about what we wanted to do with Season 3 was, pre-COVID, already a more down-to-earth, character-based season, with intimate stuff between the characters we already care about, family stuff. That was already our goal, so thank God for that because to do something like a Season 2, we would have been really rethinking.

In Season 3, we tried not to do any huge events that had a lot of extras. So, for example, a big event would be going to a big mountain resort. We go to Kananaskis Lodge in Episode 5, which is big in scale and scope and beauty, but we never have 200 people in a room. It’s not necessary. We did scale in different ways this season. Another big factor was looking at stories between the characters. We have a lot more stories happening at Jann’s cottage, we’re bringing people to her, rather than her always at Max and Dave’s [Patrick Gilmore] and elsewhere. Nora’s back with her, she’s hired Trey [Tenaj Williams], Trey’s now around all the time. Cale [Elena Juatco], of course, is in her breakdown mode, so she’s great fun to have around without having to be at big events, she’s in our domestic world now. So it was already storywise what we had been talking about, but it was also a very conscious choice to spend more time at Jann’s cottage, which is a wonderful set that we own, that we control, and doesn’t mean you have to have 20 people walking by in the background. 

A lot of things changed in Jann’s life at the end of last season, such as her firing Cale, breaking up with Cynthia, and asking Nora to live with her. What were your goals for her character in Season 3?
JH: The theme of the season was kind of starting over and new beginnings, and so that’s what we were looking for in bringing Trey in, and then as we get into the season, we get into Jann considering dating again and dating a man. So really it was about Jann being a woman who is kind of going back to basics. In terms of romance, realizing she deserves to be happy and maybe she should be looking for love, and in terms of her career, realizing she should really pursue the album that she wants to write that’s from the heart, that is more her than any of the stuff she did with Cale. So she’s got to figure out new ways to take control of her own life in this season. 

Leah Gauthier: Jann still has so much to say. I mean maybe the world thinks she’s aged out of relevance, but she’s like, ‘I’m actually going to do a bunch of stuff for myself going forward.’ 

This is a serialized show, but it also depends on the comedy of Jann always being a little self-absorbed and making bad choices. How do you decide where her character should grow and where she should stay stuck?
LG: That’s a good question because it sort of is just this collaborative experience when we write that Jann will absolutely shut something down almost immediately if she’s not willing to go there. She’s not going to waste anyone’s time. But there is a collective feeling or understanding when we hit the nail on the head in terms of her self-absorbed nature. Mostly, if it reads like it’s in her best interest, and no one else really gets hurt, but she’s gonna do what she’s gonna do for herself, that’s kind of a comfortable zone for us. And it’s always pretty funny especially if we throw in a physical comedy aspect to that as well—which is why we definitely put her upside down in a dumpster later this season. So there’s that coming, get ready. We want to keep her not completely self-actualized because that is the person that she is. Like we’re not going to make her completely whole at this point because then we run out of story. 

JH: I agree. The way I have started to think about it, so many episodes in, is that she can be as selfish as we want if she doesn’t really realize the harm she’s doing to other people. And I think that’s it. There is a sort of innocence and naivete to her narcissism. We have sometimes been compared to Curb Your Enthusiasm. Obviously, we’re not going to complain about that comparison, but I do feel that Larry David is kind of more of an asshole. 

LG: So lovable. 

JH: Larry David? 

LG: I love him, I love him. 

JH: Well, I love him, too, but I think the thing is, he’s righteous, he has to be right. If something is ridiculous to him, he has to prove that. It’s more of an intellectual thing or something. But with Jann, she is from the heart, man. For me, when she gets up from that support group [in Episode 302], where she’s supposed to be listening to advice about her mother, and she’s just like, ‘Oh, my God, thank you so much for helping me solve my problem.’

LG: ‘This is very helpful!’

JH: ‘This is so helpful!’ She is truly in her own head and just an innocent, right? She’s just like, ‘I’ve got a great idea, and I’m gonna go now.’ And I don’t think that she is really aware of her selfishness. That’s how I read her.

You introduce two new characters this season: Trey, who debuted in the premiere, and Nate, who first appears in Episode 304. Why did you decide to expand the cast?
JH: I would say I’m not sure we should be adding a lot of characters to the cast in one sense because we have a lot of people that are great performers, and as it is, some of them don’t get a lot of time, and we’re constantly trying to juggle making sure we see enough of the people we already love. However, we did really feel like Jann needs help in her life, so we needed somebody coming in. And we talked about different forms of what kind of person that could be, but we ultimately landed on some kind of personal assistant. She doesn’t want management, but she clearly needs somebody to help keep her life together, and so that’s where Trey came in. And I think the main thing we wanted with Trey was somebody who was obviously a rational, mature person to do two things: to offset Jann’s instinctively bad choices and then also somebody who had a warmth and sort of a caring nature because we wanted to establish somebody who could be a friend and maybe even long-term a bit of a help to Nora along the way. So those are the two dynamics we really cared about with that character. 

LG: We knew early on that Jann was probably going to attempt to get back out in the dating world, and then we’d decided that she might dabble with men. And then Jann and I were actually away, we were on Bowen Island here in Vancouver, and we went to a property, and the owner of it had a son who was around who was an actor, and Jann immediately took a liking to Charlie Kerr, and she said to me, ‘This guy could potentially be my boyfriend on the show.’ I said, ‘OK, we’ll have to field a bunch of comments about this age gap, but I see how this could actually be quite hilarious, and I like the little reversal with the older lady vibe.’ So there was a bunch of auditioning with Charlie, and he was a perfect fit. He kind of plays it a bit serious, which is perfect for Jann’s out-of-control energy. He’s sort of stoic. So that’s how we found him, we found Charlie Kerr on an island. 

JH: [His character Nate] doesn’t put up with bullshit and games. He’s just not interested. He’s super mature for his age. 

LG: Yeah, he’s sober and celibate. He comes in saying, ‘Im sober and celibate, and I’m not putting up with your craziness.’ 

JH: We also played the character a bit older than the actor. I’ll just say that right up front. We actually took pains to flag his age in the episode where we meet him because we kind of felt it was pushing it a little bit. 

LG: We’re like, ‘Grow a beard! That’ll do it.’ 

So we have Nate coming up in the next episode. What can you tease about the rest of the season?
JH: Well, you should know that Leah and I have become huge spoiler proponents. 

LG: Yes. Love the spoilers. 

JH: In this world, there’s so much great TV to watch that we actually sort of feel like anything that we can do that is going to pique somebody’s interest into taking a look, we’re open to. There’s a couple of things the network has asked us not to spoil, but for the most part, we’re open books at this point. 

Oh, wow, spoil away!
JH: OK, well one thing I think is exciting is a couple’s weekend away with Jann and her new boyfriend Nate and Max and Dave, who are very excited to be away from the kids and have no responsibilities for a while. And Cale is going to have a storyline where she tries to confront her fear of failure by purposely failing.

LG: And Elena gets to sing, she’s an incredible singer. 

JH: Yep, Cale sings. We finally got Elena Juatco singing on our show. We have I think a really fun story about questioning the idea of gender reveal parties. Jann and Nate go to basically a rich couple who run a gender reveal business and are kind of put on the spot, and Jann has to kind of take a stand against gender reveal parties. And Leah, do you want to [talk about Episode 307]?

LG: It involves some aggressive bird watching that ends up in some dumpster diving, and there’s a mystery to unfold. They also have to attend a funeral. Somebody dies. 

JH: That’s right. Somebody who we’ve already met this season dies. Woo, look at us! We’re getting good at this. 

LG: And then the season finale, obviously, has Michael Bublé, and he did such an incredible job. He came so well prepared. It’s a big role. He’s very collaborative. He was in it to win it, so that was a fun day on set. And also we had Michael Bublé re-record a very specific club track from my youth, so we’re talking like 1997. It’s Ginuwine’s “Pony,” but sung by a crooner. So imagine that: The song that Magic Mike made famous, Michael Bublé is going to make even more famous. You can call him Magic Mike going forward. 

Do you already have ideas for Season 4?
JH: There has not been an official pick-up, but Jann, Leah, and I have done our early talk-through of story ideas for what we would want to do in Season 4. We have a kind of proposal to CTV for what we would like to do, and we’re ready to hit the ground running. 

LG: There’s an aggressive cliff-hanger at the end of this season

JH: Yes, there’s a real question hanging in the air, so we really want to answer that. 

Jann airs Mondays at 7 p.m. ET/PT on CTV, CTV.ca and CTV app.

Images courtesy of Bell Media.

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Jann: Tenaj Williams on Trey’s calming influence and joining the Season 3 cast

If not for the pandemic, Tenaj Williams wouldn’t be playing Trey on the third season of Jann. In fact, he likely wouldn’t be acting on television at all. 

Until 2020, the Calgary-based actor and singer was happily ensconced in the theatre world, performing in various musicals and plays around the country. But when COVID-19 shut down theatres, he decided to make the jump to film and television, landing small parts in Wynonna Earp, Big Sky and the Hallmark movie Meet Me at Christmas

When Williams nabbed a role in Jann, airing Mondays at 7 p.m. ET on CTV, he assumed it would be small as well. But he soon found out that Trey, Jann’s (Jann Arden) new personal assistant, is no bit part. On the contrary, the calm, nurturing former nanny will be a major, season-long presence as he works to bring order to Jann’s chaotic universe and develops a strong bond with her mom Nora (Deborah Grover). 

“The part was much larger than I thought it was going to be,” Williams says.  

During a phone interview from Calgary, Williams told us how he approached playing Trey and explained why he loved joining Jann’s Season 3 cast. 

What was your audition process for Jann like?
Tenaj Williams: Typically now with COVID, it’s all self-tapes, and I actually really like that. I like that I can control the environment I’m in and my level of anxiety and stress. The way I’ve devised to tell if my self-tapes are good or not is, I always watch back my self-tape before I submit it, and if I find myself distracted by things like ‘Why do you look like that?’ or ‘What are you doing with your teeth?’ or ‘What are you doing with your mouth?’ then it’s not a good take. But if at the end of the take I find that I’m just smiling the whole time, that means I was [in the moment] as a viewer and then I’m like, ‘Oh, yeah, that must be a good take.’

With Jann, I sent off the tape, and I knew who Jann was, and I had seen commercials of the show, but I had never actually watched the show before. And then I got shortlisted for it, but I’d been shortlisted for things before, and I know not to get my hopes up for anything. So I continued on with my life, no big deal. I didn’t tell anybody anything, because I didn’t want to be like, ‘Hey, I’m shortlisted, and then I didn’t get the part. So I just pretended like life as usual, and then I got an email from my agent saying, ‘We’re just waiting for network approval,’ and I didn’t really know what that was. I assumed that it could still fall through, so I didn’t want to get my hopes up for that either. And then I got the job, and I was super excited, but I for sure didn’t understand the magnitude of what I was doing. I was like, ‘Maybe I’ll be in one or two episodes, which will be cool,’ you know what I mean? And it wasn’t until I got my script maybe like a week later and I did a fitting that was two and a half hours, and I was like, ‘How many costumes do I have?’ and I looked through the script and I’m like, ‘Oh, my gosh, I’m in all the scenes, I’m in every episode.’ And then I was invited to a table read, which that’s never happened to me before, and I was like, ‘Oh, my gosh, this is actually a big part,’ and that’s when I got excited.

Trey is a very calm, collected guy who loves astrology. How did you approach playing him?
TW: Honestly, first I watched all the episodes of this show, all of them. And it didn’t take me long to do it, either. I really enjoyed the show. When the first season ended, I thought I was like two episodes in, but I’d finished the whole season. And the same thing happened with the second season. And I kind of pieced together Trey from Jann, who has very chaotic energy, and that’s an understatement. I thought, if she’s looking for a personal assistant, I’m imagining she needs the opposite of what she is. You could play it really crazy and really high energy and matching that kind of energy, but I thought it might be more interesting if he comes in and juxtaposes that kind of energy. So I tried to bring him into a more Zen-like place. So that was my main focus, I thought that’s what she would benefit from, someone to balance her off. 

And I’m not much into astrology personally, but I did look into a little bit and I talked to a few friends who are into it, and I looked into my own sign—I’m an Aquarius—and I thought, ‘Oh, these are actually quite accurate.’ 

As you mentioned, Jann’s world is pretty chaotic. How is poor Trey going to handle that as the season goes on?
TW: Well, what I will say without giving any spoilers away is, he says in the first episode that he really likes a challenge, and I think that he finds it. I think he finds not only a challenge in Jann but in the people that live in Jann’s house that he’s now surrounded by. So he has a very ridiculously destroyed version of Cale [Elena Juatco], and I think he finds that very fascinating in a terrifying way, and you also have the energy of Nora. I think he’s attracted to the different situations there and the different energies and what that means. I think the challenge of bringing that all together is really exciting. 

When we recently spoke with Jann Arden, she told us that Trey develops a strong relationship with Nora. What can you tell us about that?
TW: Something about Nora triggers something in his past that he’s dealt with himself. He sees something in Nora that he wants to nurture. He wants to take care of this person, and I think he finds a really good friend in Nora, and I really, really love their relationship. I think that Nora is looking for a friend just as much as Trey is looking to take care of this type of person. Because she’s around Jann’s chaotic energy a lot, and she’s also been, not kicked out by Max, but kind of seeing that we need a change, and I think she’s looking for some stability. I think that Trey provides that for her in a way.

I imagine it’s not always easy to join an established TV show. What was your first day on set like?
TW: It was crazy, honestly. It was crazy that I had binged these two seasons and then I did this Zoom reading where I got to see all the faces that I got to see on screen, where we went over the whole season. I was like, ‘Oh, my gosh, I can’t believe it.’ And they were all such professionals. I cannot rave highly enough about the group of actors that they have brought together, beautiful human souls who genuinely want to make the work so good. There are no egos or anything like that, everybody was so welcoming and warm. 

The first day, I was wildly nervous, I didn’t really know what to expect, and my first scene was a two-hander with Jann, and I was like, ‘Of course it is. Of course, my very first day is with the star of the show in a scene that’s just the two of us.’ And so I freaked out and thought, ‘OK, don’t mess up any of your lines because if you mess up even one line, they’re going to kick you to the curb.’ 

And I was standing there and Jann was with me—and our first time really meeting was on set, the first scene we were doing—and we were just having a very casual conversation, and we just stood there for a second and it was quiet, and Jann just turns to me and is like, ‘So, are you nervous?’ And I thought, ‘How do I answer this question?’ and I was like, ‘You know what? Yeah, I am. I’m very nervous.’ And she just looks at me and said, ‘Oh, thank God, me, too.’ And that actually really helped things. 

Did you ever find yourself cracking up at some of Jann’s one-liners and antics while shooting?
TW: I would like to tell you that I got to the point where I was like, ‘Oh, I’m a professional, I don’t laugh anymore, I don’t break,’ but that never was the case. I was always breaking, I was always ruining scenes. It’s [Jann’s] show, and if she wants to try something completely different…she’ll just go on the most hilarious tangents, and I’m like, ‘Please don’t zoom the camera into my face, please don’t zoom the camera into my face.’ I just couldn’t keep it together. 

What was the best thing about joining the cast this season?
TW: The biggest thing was, honestly, it felt like I was part of something so great. I was just so proud of the work. I was laughing out loud constantly while we were doing the work. The script was so funny, everybody was so funny, we had such good chemistry as a cast, they welcomed me in so much, that it just felt like I was playing around. I mean, it’s crazy to me that I’m in a sitcom with Jann Arden and a bunch of other really talented people. I got paid to just literally play with the funnest, wonderfullest people. I tried not to take that for granted.

Jann airs Mondays at 7 p.m. ET/PT on CTV, CTV.ca and CTV app.

Images courtesy of Bell Media.

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Burden of Truth: Meegwun Fairbrother on Beckbie’s journey and bringing an Indigenous POV to the writer’s room

Over the course of three and a half seasons, Millwood Police Chief Owen Beckbie has become one of Burden of Truth’s most intriguing characters as he’s confronted racism within the police department and faced distrust from the Indigenous community he grew up in.  

As portrayed by actor Meegwun Fairbrother, Beckbie is conflicted but highly moral, a brooding hero trying to both uphold the law and correct injustices that have been inflicted on Indigenous people in his town. However, he wasn’t originally conceived as a good guy. 

“I was apparently written as a bad guy at first, which made sense to me at the time because I was playing a lot of different bad guy characters, like in Hemlock Grove, Haven and some other shows,” Fairbrother says. “But they took one look at me [at my costume fitting] and said, ‘I don’t think you’re a bad guy.’”

The unexpected change allowed Burden of Truth creator Brad Simpson and the rest of the show’s writers to reimagine Beckbie’s story arc and make him a central part of the series. 

“Over the years, we just grew the character, because there was something interesting there—this Indigenous police officer who’s straddling two worlds, a foot in the Native and non-Native worlds, and also in a position of power,” says Fairbrother. “How does he, and how do all of us contemporary Indigenous people living in Canada, live and survive in a world that isn’t quite set up for us, isn’t quite made for us? That’s the journey, I think, of this character.”

Beckbie’s broadened role also led to Fairbrother, who is of Ojibway and Scottish origin, being added to the show’s writer’s room, first as a consultant in Season 3 and then as a writer in Season 4. He co-wrote this Thursday’s penultimate episode, “Where the Shadows Lie Waiting,” with co-producer Eric Putzer. 

To get ready for the instalment, we chatted with Fairbrother about playing Beckbie, making the jump to the show’s writer’s room, and writing stories that are “truly Indigenous.”

Beckbie is a fascinating character. How did you initially approach playing him?
Meegwun Fairbrother: Just before I booked the role, I had started practicing Okichitaw Indigenous arts, it’s a Plains Cree martial arts, developed in the Winnipeg area, on this land, and it’s taught by Master George Lepine … So I was practicing that, and I was really building myself in that way, and I got to know Master George quite well, and I actually learned that he is a former police officer in Manitoba. So we had a lot of talks, and I actually based the character a lot around him. Like imagining that George Lepine was a younger man, and the younger George Lepine working in his community, straddling two worlds, working in that bigotry but also trying to do something good for his community, all the same time developing this system that would help his community to raise themselves up and to help process trauma. 

Over the years, I think we just kept growing that, and that’s why you see the tomahawk throwing in Season 3, that’s part of the martial arts system. We wanted to pitch more and Brad [Simpson] got really interested in it and what it was, but we may leave that for the next show that we do. But we were able to bring that into the world, and I would say that the culmination of that story of working with him and building the character over four years is in a scene with Beckbie and Kip [played by Skye Pelletier] in [this week’s episode] when he’s showing him a knife, a historical dagger. I invoke a name in that scene, Ambrose Lepine, who is actually George Lepine’s great, great uncle. So that’s life and art all spiraling and culminating in that moment. 

Speaking of this week’s episode, how did you transition from being an actor on the show to also being in the writer’s room?
MF: I would say that it actually started in Season 2. I was invited in for a one-day consultant session, and I was just able to bring some perspective from my understanding, from my family’s understanding and help these non-Indigenous writers have an understanding into the world of what it is like to be an Indigenous person and what Indigenous people face. It really is like two different worlds that exist here in Canada: the Canada that everybody knows and the Canada that the Indigenous people live in and experience every day. So I tried to bring as many stories from my father, from my sister, from my brother and aunties and uncles and people from my own life, and I think it really shifted a lot of the writers. They didn’t have that perspective before and I think it really had an impact on them, especially Brad and Adam [Pettle], the showrunner. I think after that, they were just interested in having me around some more.

So in the third season, they invited me in as a full-time consultant. I was with them for six or seven weeks and got to really understand how to put a show together, how to pitch, and how each script is developed from infancy all the way to production level scripts, and understand all the moving parts. Whereas before I was just an actor—and I don’t want to say just an actor, but I was an actor playing a part in somebody else’s world—now I’m understanding how those worlds are built. And finally in the fourth season, I get to have a hand in creating the world and actually writing something. 

Is there anything in particular that you wanted to contribute to the writer’s room?
MF: The group of people that are creating the show are just wonderful human beings, and I learned a lot from them. And I understand now that that’s quite a privilege to have, to be able to be in a writer’s room, and not many people get to have that opportunity. I would say one of the biggest things that has come out of [me being in] the writer’s room is probably the amount of shows and things that will be affected by that room. All those writers going out into different shows, I was able to give them a little bit of perspective and insight into the world of what we’re dealing with. 

And I really believe that in order for stories to be truly Indigenous, we have to be there at the seed of the idea, which is the writing or producing or directing. Directing is great, we’re having more directors now, we have a lot more actors now, but it’s been a lot of non-Indigenous people writing Indigenous characters. But this season, we had Madison Thomas writing an episode and directing two episodes as well. Madison was also in the room during the third season with me and launched Kodie Chartrand, the character who was played by Sera-Lys McArthur. So all of that lends itself to better stories, more well-rounded characters, getting rid of what I like to call ‘the wooden Indian.’ I’m not wooden, none of my family is wooden, we’re all dynamic, fully fleshed out people with hopes and dreams and trials and tribulations. So complex Indigenous characters is what I hope comes out of my sharing and my connection to these writers and the rooms that they’ll go off into, the stories that they’ll share, because hopefully I’ve deputised them as allies so that they will be fighting the good fight in any room and any space that they walk into.

You co-wrote ‘Where the Shadows Lie Waiting’ with Eric Putzer, who has been a writer on the show for three seasons. What was that experience like for you?
MF: I’ve always liked Eric. Even from Season 1, we were always talking on set and talking about stories and coming up with things, so we were always in a creative mindset and liked working together and talking with each other. So it just felt like a natural progression to him to be the one that I was co-writing the episode with. Over the last few seasons, he’s gotten to be known as Mr. Episode 7, Mr. Penultimate Episode. He got very, very good at telling a really dynamic story and also having us on the edge of our seat . . . So to have him as my co-writer was a dream, and he’s a very good teacher, and he’s very patient because I had a lot of questions. And he was very good with setting deadlines, and I was able to meet them, and I think he really appreciated that on my part. We were a good team. And a lot had to be done in Episode 7. There had to be some wrap-ups, there had to be some getting of people, and so it’s a super dynamic, super fast-paced kind of complex episode, and that’s a result of all of our years working together and getting to know each other. 

Were you allowed to write your own dialogue in the episode?
MF: That was a question, I think, right from the beginning. Everybody was like, ‘I don’t know if we’re gonna let write his own stuff.’ But in the end, I did have a hand in pitching my own scenes, which I guess is probably not a normal thing. I think they trusted me enough to know that I was able to detach myself from the character and put my writer’s hat on, taking care of all the characters, taking care of the story, the wider movements of the drama, which in the end is more important than one character’s journey. How do all the characters move together in the story and get to a really exciting finish? So, yes, I did have a hand in creating and birthing the scenes, but TV is such a collaborative endeavour in terms of creativity. Eric and I created the episode, but then we had our head writer, our showrunner, and the writer’s room giving notes and also writing on it and changing it and adjusting it until we all are moving in the same direction and getting to the best product. 

This season, Beckbie has been trying to help Kip, who has been living in an unstable situation since his dad was killed in a racist incident. How does that play out in Episode 7?
MF: In terms of Beckbie wanting to help Kip, thinking that he can control everything and he’s going fix it all, he learns that he needs Diane [played by Nicola Correia-Damude] and he needs his community and he needs the people around him, he needs his officers, he needs help to raise this child. But even then, he goes at it a bit of the wrong way, and then he has to work all that out in the next episode, of course. 

What parts of the episode are you most excited for viewers to see?
MF: It’s hard to say. I love every character’s storyline so much. I guess, in particular, I really love Taylor’s [played by Anwen O’Driscoll] storyline this year. It’s very important to me. That story in our community is still very much present and for us to take down a bad guy like that is very satisfying for me. I think I will be writing a lot of those kinds of storylines in the future, getting the bad guy. I think if I can dream it up in my fiction and my drama, maybe it will start happening more in the real world, too. 

It sounds like you’ve been bitten by the writing bug. Is acting still your first love?
MF: I’m very intrigued by the writing, but you know, I’m a storyteller. That entails singing, that entails speaking, that entails acting, writing, painting, sculptures, you name it. I’ll do it all. However people will have me perform and tell stories, that’s what I’ll do. So in no way am I only going to be a writer now or anything like that. But I have seen the power of writing and how we can bring stories into the world at the seed and have it be a much more dynamic and complex story if Indigenous people are part of the writer’s room, are part of the initial creation of stories. So I’m going to definitely be writing a bunch of pilots and a bunch of stories that I’m gonna try to put out in the world and learning how to be as good as I can be, so I can get the stories that I know my community wants to see. 

I understand that the CBC recently awarded you funding to develop your one-man show Isitwendam (An Understanding) into a TV pilot. How is that going? 
MF: Oh, you’ve done some homework. Yes. I worked on a play with a friend of mine, Jack Grinhaus, for around 10 years, and last year, we got to show it to Toronto and the Talking Stick Festival in British Columbia, and then the pandemic hit . . . so we decided to put it to sleep for a little while and then the [CBC Creative Relief Fund] came up and decided, ‘You know what? We always wanted to do something with it in terms of film and television, so let’s go for it,’ and we put in an application, and we were awarded it. I just handed in my outline to CBC, and I am awaiting notes on the first draft of my outline. Hopefully, we can push that story forward and keep developing it. 

What else are you working on?
MF: Madison Thomas and I are also co-directing a short film. It just came together, it’s kind of a post-apocalyptic sci-fi short where we’re fighting aliens, but it’s a comedy. It’s called Shoot Your Shot, and it’s going to star myself and Skye Pelletier and Victoria Turko, who plays Dee in this season of Burden of Truth, as well as Stephanie Sy, who is a local Winnipeg actor extraordinaire. I don’t know if this is true, but it might have a home at Netflix this spring or summer. 

Burden of Truth airs Thursdays at 8 p.m. on CBC and CBC Gem.

Images courtesy of CBC.

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Coroner: Morwyn Brebner and Adrienne Mitchell on Season 3’s “strange, magical” vibe

From the opening moments of Coroner’s Season 3 premiere, it’s clear that COVID-19 has invaded Dr. Jenny Cooper’s (Serinda Swan) world. There are social distancing measures during her group therapy class, full-body protective suits at her workplace, and in one painfully familiar scene, raw marks on her skin when she removes her mask.

“Yeah, that was a striking image,” creator and showrunner Morwyn Brebner says during a phone interview. “And it really did just evoke all the images that we’ve seen of the health care workers and the hours and hours and hours that they had to work in those masks.”

Executive producer and lead director Adrienne Mitchell concurs, adding that the scene demonstrates “the truth of people trying to make their way through this, from doctors down to personal care workers in homes, and just the physical toll that that took.”

Since Coroner is a medical-crime drama that focuses on death, Mitchell and Brebner felt it was natural to incorporate COVID-19 into the new season, which kicks off Wednesday at 8 p.m. on CBC. However, aside from the first episode’s plot involving the death of a long-term care worker who lacked access to PPE, they say the pandemic will influence the ambience of the series more than its storylines.

“The weird thing about the pandemic is that … it proposes the possibility of different ways of living,” explains Brebner. “We can go into different worlds and go through them with a real sense of curiosity and wonder.”

Over the course of this season’s 10 episodes, up from last year’s eight, Jenny and Detective Donovan McAvoy (Roger Cross) will investigate a slew of mysterious deaths in a variety of new environments.

“Because it’s been a COVID-19 year, where time is stopped and everything is surreal and you’re put on pause, you can invite unusual things into your life and hold them in a way that is perhaps more playful,” says Mitchell. “That’s what’s fun about this season: You can go from horror to haunted houses to witches to strange magic.”

This season will also have a different vibe because Jenny faced down several personal demons—including her complex relationship with her dad, Gordon (Nicholas Campbell)—during the show’s dark and psychologically fraught second season, letting her approach Season 3 with a fresh perspective.

“[Jenny]’s decided to be open to life, and that makes her vulnerable, but it also presents an incredible opportunity,” says Brebner. “It’s like allowing things to come at her while she’s embracing her trauma a little and trying to see what it is to her, as opposed to being afraid of it.”

According to Mitchell, series lead Swan—who has always tackled Jenny’s mental health issues with fearlessness and compassion—was completely onboard with her character’s emotional shift.

“Serinda was very much interested in exploring trauma as a tool,” says Mitchell. “So instead of [Jenny] succumbing and being paralyzed by it, now that she has a bit more of an understanding of it, how can she use it and draw from it to move through the world and connect with people who have their own individual traumas? … It’s very interesting. It’s a different journey for her this season.”

Behind the camera, Mitchell used “flares of light and the magic of light” to visually represent Jenny’s newfound appreciation for life, choices that are evident during a trippy, drug-infused sequence in the first episode.

“Only Morwyn can write about a weed journey in the middle of a very hard COVID-19 case, but it works,” laughs Mitchell. “Because [the way we normally live our lives] is sort of on pause because of COVID-19, it allows for unusual, strange, and living-in-the-moment events to take place, and there are some opportunities to have what I would call ‘strange joy.’”

However, not everything will be rosy for Coroner’s characters this season.

According to Brebner, McAvoy will have a health scare that forces him to face his mortality in a new way.

“He deals with death all the time,” she says. “He’s a homicide detective, he’s an incredibly stoic person, and he’s up against something that’s a new kind of adversary for him.”

Meanwhile, Liam (Éric Bruneau)—who left Jenny in last season’s finale—will still be struggling with his war-related PTSD.

“We ended Season 2 with the decision that they needed to be apart to heal, and that being together was going to be an obstacle to their healing,” says Mitchell. “And then the question is, where does that take them? Is that going to bring them back together or not?”

As for Brebner and Mitchell, they’re both trying to recover after Season 3’s exhausting, COVID-delayed five-month shoot, which ended on Jan. 22.

“We brought in a COVID-19 health management team, so we had about three or four rotating nurses and daily screens, in terms of temperature and questionnaires. We also had weekly COVID tests and a strict regimen of mask-wearing at all times,” Mitchell says.

The cast and crew were also required to stay six feet apart as much as possible, which was hard, Brebner notes, because TV production “is really a business where we stand close together and hand each other things.”

Still, they both say it was a “privilege” to work during the pandemic and are proud of the result.

“We go to deep, emotional places, but we also go to a lot of fun places,” Brebner says. “This season has a really strange and magical integrity to it.”

Mitchell concludes, “It’s just weird, but it’s a cool weird.”

Coroner airs Wednesdays at 8 p.m. on CBC and CBC Gem.

Images courtesy of CBC.

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