Everything about Motive, eh?

TV Eh B Cs podcast 66 — A Cardinal Point with Jennica Harper

Jennica Harper is a Vancouver-based TV writer/producer. Recent credits include Season 2 of Cardinal for CTV, the ABC thriller Somewhere Between and the fourth and final season of Motive. Jennica also wrote and produced on the hit kids comedies Some Assembly Required for YTV and Netflix for which she won a WGC Screenwriting Award, and Mr. Young for YTV and Disney XD.

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

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Link: Motive’s Kristin Lehman brings no-nonsense confidence Saving Hope

From Christy Spratlin of The TV Junkies:

Link: Kristin Lehman brings no-nonsense confidence Saving Hope
“It’s almost a bit like that feeling like you’re good friends with someone and you’ve met their brother so you know them but don’t really know them. It was kind of like I was working with that brother. It was great. There was a real ease on the set, a real level of comfort and respect and caring. It was lovely.” Continue reading.

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Link: Q&A: Motive showrunner Dennis Heaton bids farewell to beloved crime drama

From Francois Marchand of the Vancouver Sun:

Link: Q&A: Motive showrunner Dennis Heaton bids farewell to beloved crime drama
“Before I got the (cancellation) news I was thinking about Season Four, and Season Five, and Season Six. I had a story arc for Angie for Season Five that I was originally going to write Season Four to. And then I got the news, and what ended up happening is that I took those ideas for those later seasons and incorporated aspects of them into the arc for Season Four. In a way, Season Four is actually Seasons Four, Five and Six.” Continue reading.

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Motive says goodbye

This is it, Motive fans. The last episode. The final crime. And what a way to go out. As showrunner Dennis Heaton told us back in March, the finale idea was to “err on the side of cool,” and we certainly get that. But viewers get much, much more. The relationships between Angie, Oscar, Lucas and Betty are celebrated, a partnership that for the most part went on long before we tuned into their world.

Now it’s coming to an end with “We’ll Always Have Homicide,” which CTV teases with:

In the series finale, Detective Angie Flynn (Kristin Lehman) brings an unsolved homicide case to justice. She searches for the killer with help from Detectives Paula Mazur (Karen LeBlanc), Mitch Kennecki (Victor Zinck Jr., THE 100), Brian Lucas (Brendan Penny), Dr. Betty Rogers (Lauren Holly), and Oscar Vega (Louis Ferriera).

After watching a screener, we can offer up a few more tidbits of the instalment, written by Sarah Dodd and Dennis Heaton.

The one that got away
Yes, the series finale revisits the murder of Judge Rodman and the fact the killer got away was never far from Angie’s mind, even if she is nabbing bad guys in Paris. As Oscar told Angie last week, there’s no statute of limitations on murder. That’s good because, three years later, we catch up with the team in Vancouver. Of course, they haven’t been mulling over the Rodman case all that time, but it certainly has ties to the death Mazur and Kennecki are currently investigating. Yup, Kennecki is back on homicide.

“The craziest f–king murder weapon we’ve ever used.”
Dennis Heaton wasn’t kidding when he told us about the series finale’s murder weapon.

Lucas is working Internal Investigations
That’s no surprise—it was revealed he was heading that way last week—but we do get a peek into Lucas’ personal life … and who he married.

Vega has an offer for Angie
Angie’s up for a renewal of her secondment in Paris, but will she choose her old partner over The City of Light? It’s so great to see the pair reunited, sharing a laugh and a smile. Their relationship is deep and intimate without being sexual and we love them for it. Their final scene is perfect.

What are your thoughts on the last four seasons of Motive? Comment below or via Twitter @tv_eh.

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Reaction to CRTC’s Policy framework for Certified Independent Production Funds

By Anonymous 

UPDATE: If the intent is to attract “top talent” that will make all these new “American” Canadian shows more viable, the CRTC should probably know that even some of the most successful Canadians in L.A., like the showrunner/creator of Bones, isn’t impressed.

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Canadian Television is about to become slightly less full of Canadians, thanks to a major CRTC decision released quietly yesterday.

The CRTC is allowing the independent production funds (including the Shaw Rocket Fund, Rogers Fund, Cogeco Program Development Fund, Telefilm Canada, and the Harold Greenberg Fund) to reduce their “point system” for what determines Canadian-ness of a project from 8 to 6. The general effect of this will be to allow for the hiring of non-Canadians in key creation and starring roles (ie: Americans will be able to create and star in “Canadian” TV series).

This, in fact, by the CRTC’s own admission, was one of the points of the decision:

“The current criterion requiring eight out of 10 Canadian content certification points to qualify for CIPF funding is restrictive and excludes many productions that could otherwise be of high quality and qualify as Canadian. Moreover, a reduced requirement could help smaller and perhaps more innovative projects to qualify for funding. A reduced requirement of at least six points could also facilitate the hiring by production companies of non-Canadian actors or creators, who may increase a project’s attractiveness and visibility in international markets.”

Reaction from the Canadian creative community was swift, and critical.

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What’s particularly unusual about this decision is that something with far-reaching implications was done as a “paper hearing,” ie: the CRTC did not hold any public consultations.

The last time something like this was proposed, the Writers Guild of Canada brought a group of screenwriters to Hull to appear before the commission. They made a convincing case as to why this “flexibility” wouldn’t lead to better quality Canadian programming. It seems that current chairman J.P. Blais was determined to not repeat this exercise.

Of concern to fans of actual Canadian TV shows, of course, is the fact that once again in no way was the audience consulted. The CRTC didn’t bother to seek out or try to understand the feelings of fans who celebrate unique Canadian points-of-view and creative directions on display in Canadian-created shows such as Orphan Black, Flashpoint, X Company, Letterkenny, Wynonna Earp, Lost Girl, Rookie Blue, Saving Hope, Motive, or many more.

As Peter Mitchell, executive producer and showrunner of Murdoch Mysteries explained on Facebook, even the premise of the CRTC’s decision is faulty:

Mitchell

The problem with the CRTC’s decision is that it really doesn’t advance any new idea. Many Canadian producers have been doing their level best to copy “American-style” shows for years, watering down the Canadian creative role as much as possible. They never seem to do as well as the original work such as Orphan Black or Murdoch Mysteries. That’s why you’re not seeing Season 4 of the forgettable XIII, and why Houdini & Doyle, which debuted to so much fanfare, died a quiet death.

The idea that Canadian producers will be able to attract top American talent is dubious at best. Because if you’re American, and you’re working in the American industry where there’s more money, and more prestige, why would you take a massive pay cut to work in Canada? Instead of top American talent, you’re likelier to get the people who can’t get hired anymore, who might have had credits in the 1980s or 1990s. And now the CRTC has blessed the idea that these marginal players are more valuable than the top homegrown talent who are responsible for the industry’s top successes.

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There are other ways to approach the idea of creating hits, rather than this failed road. But the CRTC seems to be enamored with the fantasy that “flexibility” fixes all, rather than actually supporting talent.

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And the best part? A government that ran at least partially on a platform of promoting culture is signalling to the next generation of storytellers not to bother—that it’s time to leave:

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So there’s nothing good here if you’re a Canadian writer or actor hoping to star in or create a Canadian show. Or if you’re someone who likes the unique point of view you see from Canadian TV shows. But the producer’s association loves it. I’m sure you’ll be getting something great from that writer who did one episode of Simon & Simon any day now.

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Great news, isn’t it?

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