All posts by Greg David

Prior to becoming a television critic and owner of TV, Eh?, Greg David was a critic for TV Guide Canada, the country's most trusted source for TV news. He has interviewed television actors, actresses and behind-the-scenes folks from hundreds of television series from Canada, the U.S. and internationally. He is a podcaster, public speaker, weekly radio guest and educator, and past member of the Television Critics Association.

Tasya Teles on five seasons of Crave’s Shoresy, and Shorsey Classic hockey

By Scott Campbell

During the first season of Shoresy, how would anyone predict the Sudbury Blueberry Bulldogs would have skated off the screen and into real-life playing National Hockey League Alumni teams?

Tasya Teles admits it was a surprise.

“The evolution of the show has brought a lot of gifts and a lot of excitement,” she said during a Zoom interview. “For instance, we just played recently in Los Angeles against the L.A. Kings alum.

“That was a huge surprise to even imagine that we would end up there has been incredible. [The team] is going to be in Calgary, Edmonton and Vancouver. I’m really excited for those, but that is something that happened, that you would never know where the journey was going to go in Season 1.”

The Shoresy Classic features a series of hockey games, with a portion of proceeds donated to local charities. Shoresy streams on Crave and Hulu in the States, which also saw other games in Detroit, New York and Boston.

Now, five seasons into Shoresy, Teles has been around since the first, she portrays Nat, the owner and general manager of the Sudbury Blueberry Bulldogs in the fictional Northern Ontario Senior Hockey Organization (The NOSHO).

Shoresy is played by Jared Kesso, also the show’s creator.  Which, technically, for those unfamiliar, is a spin-off, since Shoresy first appeared on Keeso’s other series, Letterkenny, as that show completed its run in 2023.

“I mean, there’s a lot of rough language that exists on the show,” said Teles. “You know, edgy stuff, but then there’s also these really beautiful, kind of heartwarming speeches that Shoresy gives or Nat gives and these endearing moments.

“You have that duality, and I think actually the [Shoresy Classic] hockey games themselves are great for families. I mean, the kids might have to be a certain age so they can handle the language, but that’s up to the parents’ discretion.”

Jared Keeso and Tasya Teles.

Shoresy films on location in Sudbury, Ontario, and a season takes about six weeks to complete. Teles feels like Sudbury has become a second home in a way, as the community has embraced the show.

The cast does arrive a bit beforehand of production, though, for any preparation needed, like fittings.

Teles’ road to Sudbury began with an ask from her agent: record an audition and see what happens.

“Jared’s really specific about the people that he placed on the show, which has been amazing. Like he’s so good at understanding how he wants to put together a team, so to speak.”

The rapid-fire dialogue featured in Shoresy or even Letterkenny is not typically a style heard in other TV shows.

“At the beginning of the show, I wasn’t sure how to necessarily prepare in the best way,” Teles says. “But it’s something that over the course of the seasons, we’ve all just developed that muscle. We all know how to riff off of each other because it’s really like passing a puck.

“That’s how I describe it. It’s going here, it’s going there, it’s going back to you, you’re setting somebody up. It almost mirrors or mimics hockey in that way. And it’s just something that you learn how to do. How often these days do you see someone who creates their own style of comedy, their own unique form of comedy? I think it’s just brilliant writing.”

This fifth Shoresy finale drops on Crave on January 22. Teles teased at the time of this interview that viewers have yet to see the face-off between the Euros and the Canadian and American teams. Shoresy is coaching for the first time, too, to find out if he is successful.

“When you start any TV show, you never really know what’s going to happen,” said Teles. “What the journey is going to be, or how many seasons you’re going to go into. Being a part of this team, and this show and being able to grow my character throughout the seasons has been so rewarding.”

Stream Shoresy anytime on Crave.

Images courtesy of Bell Media.

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Production underway on Season 2 of North of North for APTN, CBC and Netflix

From a media release:

APTN, CBC and Netflix, with production partners Red Marrow Media and Northwood Entertainment, today announced that production is underway on the second season of the Arctic-set comedy North of North (8×30). Created and executive produced by Stacey Aglok MacDonald (Qanurli, The Grizzlies) and Alethea Arnaquq-Baril (Angry Inuk, The Grizzlies) of Red Marrow Media and executive produced by Miranda de Pencier of Northwood Entertainment (Anne with an E, Beginners, The Grizzlies), the highly anticipated new season will premiere on APTN, CBC and Netflix later in 2026. Audiences in Canada can stream season one of North of North on APTN+CBC Gem and Netflix.

Season two will continue to follow Siaja, a young Inuk mother who attempts to build a new life in her tiny Arctic community of Ice Cove. Anna Lambe will reprise her starring role as Siaja, alongside Maika Harper, Braeden Clarke, Jay Ryan, Mary Lynn Rajskub, Zorga Qaunaq, Bailey Poching, Nutaaq Doreen Simmonds and Keira Cooper. 

The second season is currently filming in Iqaluit, Nunavut, and Toronto, with production continuing through April.

North of North instantly captivated audiences and critics worldwide when it first premiered in Canada on APTN and CBC in January 2025 and then globally on Netflix in April 2025. Since its debut, the series has achieved a 100% Fresh rating on Rotten Tomatoes. The breakout comedy took home five awards at the 2025 Directors Guild of Canada (DGC) Awards, including Outstanding Directorial Achievement in Comedy Series for Danis Goulet and Comedy Series Crew of the Year. North of North is also nominated for the 41st Film Independent Spirit Awards’ Best New Series, along with Best Performance in a New Series for Anna Lambe.

North of North became the most-watched new series on CBC Gem since the launch of the streaming platform.* Additionally, the comedy was one of the most-watched programs on CBC among the A25-54 demographic.** On APTN, North of North was among the top-performing new scripted shows during the Winter 2025 season and the top new program on APTN lumi (now APTN+). Globally, North of North debuted at No. 9 on Netflix’s global top 10 for English-language series the week of its release on the service in April. The series also broke into Netflix’s top 10 in 33 individual countries with nearly 9 million views between April and June 2025***.

An APTN, CBC and Netflix original series, North of North is produced by Red Marrow Media and Northwood Entertainment. The series is created and executive produced by Stacey Aglok MacDonald and Alethea Arnaquq-Baril of Red Marrow Media and executive produced by Miranda de Pencier of Northwood Entertainment. 

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Banff World Media Festival unveils esteemed grand jury for 2026 Rockie Awards

From a media release:

The Banff World Media Festival (BANFF) today announced the distinguished Grand Jury for the 2026 Rockie Awards International Program Competition. Comprised of senior executives representing some of the world’s most influential media companies, the Rockies Grand Jury will select the highly anticipated award from among the top-scoring programs across competition categories.

The Rockie Awards will take place on the evening of Tuesday, June 16, 2026 during BANFF, celebrating outstanding television and content from around the globe. The Festival will also present its prestigious Gala Awards, honoring visionary leaders, celebrated talent and industry changemakers.

The 2026 Rockie Awards Grand Jury includes:

Flory Bramnick, Executive Vice President, Distribution and Networks, North America, Sony Pictures Television

Sally Catto, General Manager of Entertainment, Factual & Sports, CBC (above)

Lori Conkling, Head of TV and Film Licensing, Netflix

Lisa Holme, Head of Content, Roku Media

Yongsun Soh, Managing Director, A+E Global Media Korea

“The Rockie Awards Grand Jury represents an extraordinary depth of experience and creative leadership across platforms, genres, and territories,” said Jenn Kuzmyk, Executive Director. “Their collective insight ensures that the Grand Jury Prize continues to recognize excellence that resonates globally.”

Together, the Grand Jury brings a global perspective spanning content commissioning, distribution, streaming, and international markets reflecting the Rockie Awards’ reputation as one of the most prestigious and respected content competitions in the global media landscape.

Past recipients of the Rockie Awards Grand Jury Prize include Hell Jumper (2025), The Last of Us (2024), Eternal Spring (2023), Help (2022), I May Destroy You (2021), Fleabag (2020), Sharp Objects (2019), Big Little Lies (2018), among others. 

Submissions for the 2026 Rockie Awards International Program Competition are open through January 23, 2026, with nominees to be announced in March.

About the Rockie Awards
The Banff World Media Festival’s prestigious  The Rockie Awards recognize the best content and most influential entertainment industry executives, talent and creators in the world across television, film, podcasts, music on screen and creator content. Timed during a key awards FYC window and nomination voting, the Rockies include entries from up to 50 countries each year, and winners are selected by an international industry jury of 150+ influential senior entertainment and media professionals. The Rockies truly represent the best content in the world.

About the Banff World Media Festival
Now in its 47th year, the Banff World Media Festival (BANFF) is one of the most important global conferences and content development marketplaces – gathering top creators, producers, showrunners, talent, networks, studios, streamers, press and media companies. BANFF’s intimate, retreat-style event serves as a leading destination for development, co-production and co-venture partners and offers an unparalleled opportunity for international decision-makers to connect, map the future of the industry, and execute new business deals.  Summit Series keynotes, and renowned panels  feature the industry’s most inspiring creative and business leaders and give global profile to the most talked-about shows. BANFF continues to deliver important fellowships and initiatives including: the BANFF Spark Accelerator for Women in the Business of Media: Producers Edition, the Netflix-BANFF Diversity of Voices Initiative, and the Indigenous Screen Summit and Pitch Forum. Together these programs have provided more than 1,000 opportunities for under-represented professionals in the Canadian media industry.

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Nominations announced for the 2026 WGC Screenwriting Awards

From a media release:

The Writers Guild of Canada (WGC) is pleased to announce the nominations for the 30th annual WGC Screenwriting Awards, marking three decades of recognizing the writers behind Canada’s most engaging and powerful series, films, and shorts. The Awards will take place at Koerner Hall in Toronto on Monday, April 27, hosted by Ali Hassan, and written by Kurt Smeaton.

Nominated for the 2026 Awards are scripts from North of North (Alethea Arnaquq-Baril, Garry Campbell, Aviaq Johnston, JP Larocque, Stacey Aglok Macdonald, Linsey Stewart), Bet (Simon Barry, Amanda Fahey, Laura Good, Tabia Lau, Kurt Mungal, Chris Roberts), Lana Longbeard (Emer Connon, Alex Ganetakos, Lienne Sawatsky), Mittens & Pants (Phil McCordic, Katherine Sandford), 18 to 35 (Rahul Chaturvedi, Kaveh Mohebbi), and many others.

Please see the complete list of categories and nominees below.

In addition to the nine featured screenwriting categories, the 30th anniversary awards will also present several special honours. One WGC member will be awarded the prestigious Showrunner Award, a special prize honouring a recognized showrunner who has demonstrated great writing and leadership skills. Other special awards include the Alex Barris Mentorship Award, the McGrath Service Award, and the Margaret Collier Award, presented with supporting partner the Academy of Canadian Cinema & Television (the Canadian Academy).

CHILDREN’S

  • Dino Dex, “Dino Discovery” | Written by J.J. Johnson
  • Jane, “Pan troglodytes” | Written by J.J. Johnson
  • Lana Longbeard, “Going Overboard” | Written by Alex Ganetakos
  • Lana Longbeard, “It Takes Two to Durango Tango” | Written by Lienne Sawatsky
  • Lana Longbeard, “Lana the Something Super Great and Totally Awesome” | Written by Emer Connon

COMEDY SERIES

  • North of North, “Bad Influences” | Story by Aviaq Johnston & JP Larocque, Teleplay by Aviaq Johnston & Garry Campbell
  • North of North, “Dumpcano” | Written by Garry Campbell
  • North of North, “Joy to the Effing World” | Written by Alethea Arnaquq-Baril & Linsey Stewart
  • North of North, “Top of the World” | Written by Stacey Aglok Macdonald & Aletha Arnaquq-Baril
  • North of North, “Walrus D*ck Baseball” | Written by Moriah Sallaffie & Garry Campbell

DRAMA SERIES

  • Family Law, “It’s the End of the World as We Know It” | Written by Ken Craw
  • Family Law, “Play It Straight” | Written by Corey Liu
  • Law & Order Toronto: Criminal Intent, “Tango Romeo” | Written by Tassie Cameron
  • Murdoch Mysteries, “He Ain’t Heavy, He’s My Brother” | Written by Jenny Lee
  • Sight Unseen, “Family Matters” | Written by Lisa Codrington & Kay Shioma Metchie
  • Surrealestate, “Night Terrors” | Written by Justin Rawana

DOCUMENTARIES

  • Beavers From Above | Written by Michael McNamara
  • In the Room | Written by Brishkay Ahmed

FEATURE FILMS

  • Blueberry Grunt | Written by Sherry White
  • Dinner With Friends | Written by Tania Thompson & Sasha Leigh Henry
  • Honey Bunch | Written by Madeleine Sims-Fewer & Dusty Mancinelli
  • Nika & Madison | Written by Eva Thomas and Michael McGowan
  • Paige Darcy: Reluctant Detective | Written by Alice Moran

PRESCHOOL

  • Hop, “Benny’s Book Scare” | Written by Renae J. Ruddock
  • Mittens & Pants, “Mittens & Pants Christmas Special” | Written by Phil McCordic
  • Mittens & Pants, “Pants in the Box” | Written by Katherine Sandford
  • Paw Patrol, “Pups Save the Sea Sponges” | Written by Jeff Sager
  • Woolly Woolly, “Big BeeBee” | Written by Naomi Jardine

SHORT FILMS (UNDER 60 MINUTES)

  • I am Pleased | Written by Vanessa Magic
  • Now, I Am A Bear | Written by Jason Filiatrault

SHORT SERIES (EPISODES UNDER 15 MINUTES)

  • 18 to 35, “Bed Math and Beyond” | Written by Rahul Chaturvedi
  • 18 to 35, “Buck Mustang” | Written by Kaveh Mohebbi
  • Dying Seconds, “Have I Told You About This Hockey Card” | Written by Brendan Halloran
  • Fugget About It: Fan Favourites, “Gina’s Eleven… Minus Eight” | Written by Willem Wennekers
  • One Man’s Treasure – A Fool’s Fortune, “The Beginning” | Written by Thomas Conway

TWEENS & TEENS

  • Bet, “First Blood” | Written by: Tabia Lau
  • Bet, “Ice Breaker” | Written by: Amanda Fahey
  • Bet, “Meet the Parents” | Written by Chris Roberts
  • Bet, “The Hunt” | Written by Laura Good
  • Bet, “The Recital” | Written by Simon Barry & Kurt Mungal
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Vanessa Morgan and Giacomo Gianniotti tease Season 3 of CBC’s Wild Cards

To say that Max’s (Vanessa Morgan) life has become difficult would be an understatement. In the Season 2 finale of Wild Cards, she and her Dad, George (Jason Priestley) cashed in millions of dollars. And, though she missed the boat (literally) to join Ellis (Giacomo Gianniotti), they were in a good place in their working and personal relationship.

That all goes out the window in Season 3. Returning Wednesday at 8 p.m. on CBC, viewers learn the person who appeared at the door in the closing moments of Season 2 was Vivienne, Max’s mother. Turns out Vivienne faked her own death and is back with some disturbing news for Max and George. Meanwhile, Ellis has returned from his boat trip, and he isn’t alone.

We spoke to Vanessa Morgan and Giacomo Gianniotti about Season 3.

Was there an obvious chemistry between the two of you, either during the chemistry read or within those first few hours and days of shooting the show? Because I think that is a huge reason why people love to tune in.
Vanessa Morgan: It just felt really natural and comfortable from the moment we met. We did a rehearsal day, and then we went straight into shooting, but it kind of always just felt very comfortable. And it’s one of those things that, as an actor, you’re just really blessed that you get along as friends, personality-wise. And then I feel like that just shows on camera that we just complement each other.

Giacomo Gianniotti: Yeah, we didn’t have much time really to build any chemistry or really get to know each other. We just hit the ground running, and we’re just very lucky that we are fond of each other and work well together and have similar senses of humour. We laugh on set all the time, all the time, and find the same things funny, which is great when you’re trying to make people laugh on television that what I think is funny, she thinks is funny if I give her an idea to play something in a certain way, she’s like, ‘Oh yeah, that’s really funny.’ Or she said something to me, or that we’re collaborative, and we both have that same sense of humour. I think that’s a great asset.

So how much of that interplay is allowed? Are you doing takes where you’re sticking to the script, and then you’re allowed to play a little bit in subsequent takes? How does that work?
GG: Yeah, I think for a comedy, you like to hope that you work on a set where funny wins no matter what, there’s no ego involved, whether that’s an assistant or a director or a script supervisor or actors pitching something, but essentially everyone just has this common goal to make people laugh and whatever’s the funniest should win. So yeah, of course, we try to get it word perfect, but there are certain scenes and certainly certain characters—Amy Goodmurphy, who plays Detective Yates—that just lend themselves a little bit more to improvisation and being a little bit sillier and bringing more of her personality, her comedic personality out into the character. So yeah, there are moments where it’s very real, and we just have to say the words the way they are. And there are other moments where there’s more opportunity to play, and everyone is really game.

The elephant in the room on Wild Cards is whether Max and Ellis will get together as a couple. There have been so many TV shows throughout history where the creators will keep that going from season to season. Aside from what’s going to happen in the script, Vanessa, do you feel as though Max and Ellis should, ultimately, be together?
VM: I think they should. I think they work very well together. I think they complement each other; what one is lacking, the other has, and I just think it really meshes and works. Obviously, though, we’re kind of in a love triangle situation. He’s found a new romance. He thought that Max had abandoned him on the boat. So of course, he was like, ‘Well, I’m just going to go out, and if I meet somebody, I meet somebody.’ We don’t blame him for that.

GG: Yeah, we’re introducing a girlfriend for Ellis, so that’s a new thing that we haven’t really explored or played with in the show, either one of us having to take a sort of second or backseat to the love story and having to work together every day, stare at this person that you have strong feelings for and not being able to act on them out of respect because you know they’re in a romantic relationship. So that’s a new dynamic that we’re playing with.

(L-R) Max Mitchell (Vanessa Morgan), Vivienne (Tamara Taylor), George Graham (Jason Priestley), Tomo Hayashi (guest star Kevan Ohtsji)

Vanessa, when this new season kicks off, she’s officially a consultant. She’s got the bejewelled badge to show for it. Can you talk a little bit how the dynamic within the office is going to change, if at all, now that she’s a little bit more legit, like a more legitimate member of the team?
VM: I don’t think it changes much because I feel like everyone’s already accepted Max, but I will say maybe Max has a bit more confidence with her strutting in and with her authority with things. I feel like she’s just like, ‘I’m a detective.’ More so. She’s fully arrived.

Joining the cast this season is Tamara Taylor in the role of Vivienne, Max’s mother, who Max and George thought was dead.
VM: Max is obviously ecstatic that her mom is back. It’s like, ‘Oh wow, what a blessing, she’s returned from the dead.’ But then she’s also torn with the fact that, ‘Well, you also abandoned me for 15 years. If you’re alive, you couldn’t have sent a card, any type of hint, a phone call from a payphone, anything to just let me know that I’m in hiding, I’m alive.’ Even me not being Max, as Vanessa, I’m like, she should have really reached out in some way. I could see why Max is torn. So I feel like there’s this love-hate relationship where she’s so happy, but she’s also so mad because she’s dealt with this internal pain for 15 years.

Let’s talk a little bit about The Big Bad, certainly that was unveiled in that first episode. Gedeon Varga. Looking at some of the episode synopses going forward, I assume that this job is going to last more than one episode and affect relationships.
GG: I think it’s a big setup for our entire season. Gedeon Varga is going to be this looming, dark shadow throughout our whole season. And in fact, with Vivienne coming back, she can’t just sort of land and be a mother and work on repairing her relationship with her daughter because there’s this much bigger problem at play, which is taking precedent, which is that she owes him a bunch of money and he’s threatening to kill everybody if he doesn’t get it. So the whole season is about Max and her parents doing this job for this bad guy to sort of repay the debt and save their lives. So there’s not a lot of time to work on feelings and repairing relationships because there’s this big, glaring high-stakes heist to be planned.

Wild Cards airs Wednesdays at 8 p.m. on CBC and CBC Gem.

Images courtesy of CBC.

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