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.

19-2: The squad loses one of its own

The advantage of being a television critic are many. Invites to cool events, the chance to interview folks about their latest projects and seeing episode images and screeners in advance. The disadvantage? In the case of Monday’s new episode of 19-2, seeing images minutes before watching the screener.

The result? I thought I had a pretty good idea of how J.M.’s storyline was going to end up. One image offered for me to use in my review showed Sgt. Suarez lying on the floor next to J.M. His eyes were open, so I wasn’t sure if he was conscious or not. I hoped he was because, as bad as that was, J.M. could still come back from it.  That image, and the one of J.M. looking down, shattered, was in sharp contrast to the others, with members of 19 at a cottage, shucking corn, barbecuing and consuming cold beer.

But I was totally wrong about J.M.

Monday’s “Labour Day,” written by Lynne Kamm, began with Ben haunted—literally—by the ghosts of the men dying amid the mob war in Montreal. After getting up to close his opened front door, Ben returned to see the body of the drug dealer in his seat, plastic bag fastened over his head. Ben didn’t even flinch … he just walked over to the chair and sat down again.

J.M. wasn’t flinching either, at least not on the outside. He walked the gamut of hospital staffers on the way to leaving, thanking them for the sponge baths—and in some cases smirking “You’re welcome!”—before walking out on to the street into the rain. Alone.

After mentioning Montreal’s traffic in last week’s review, it played into a dramatic setting when Audrey and Roxanne came free of bottlenecked construction-affected traffic to find an unmarked car had pulled over a vehicle. Problem was, unmarked cars aren’t used for officers. Audrey and Roxanne knew something was wrong. It was a guy impersonating a cop and brandishing a pellet gun. According to Rozanne, more than one had been collared in the last couple of years … and had been released after being given fines. If you can’t trust the police, who can you trust? It’s a recurring theme this season on 19-2.

The squad converged at Suarez’s rental cottage (all but J.M., that was), ready to let off some steam and relax for two days. It was so good to see the team out of uniform, laughing, Tyler taking over the kitchen and ordering everyone around, the sun dappling on the lake and the tension of their jobs left behind in the strangling city. We also learned, over some serious corn-shucking, that Bear and Roxanne’s date was a success until Bear chickened out at the end of it. Her plan? To unleash the dragon (tattoo) during the weekend. Ben’s trip to the store to get some fresh buns landed him a straddling from Audrey on the way, breaking the tension within them for at least a few hours.

Kamm’s script included a stunning scene couple of scenes involving Dulac. The first between Ben and Dulac had the former defending Tyler and his loyalty when the latter disparaged him as “a fuckup waiting to happen.” (I audibly cheered when Tyler opted to pour, rather than consume, the booze he was doling out.) Then, minutes later, Dulac and Suarez recalled their childhoods, with Suarez explaining how his father had hoped he’d become an engineer, but marks meant a police career. Dulac confided his father’s expectation was his son would be a cop.

“Then you haven’t disappointed him,” Suarez said.

“Not yet,” was Dulac’s reply. Those two words had so much meaning. Did Dulac’s reply mean he would inevitably disappoint his father? Was he hinting being a cop wasn’t what he’d wanted to do with his life?

A raw—and overdue—discussion about J.M. followed, with Audrey tearing into the team for not visiting once during his three-week stay.

“He tried to kill himself, and he’s going to try again,” she advised. “What the hell is wrong with you people?! You’re a bunch of cowards. I hope no one visits you.” She had a point, but I understood everyone else’s stance too. J.M. had been such a thorn in their sides over the years it was easier to cut him off than deal with him. As Ben said, he and Nick had pulled J.M. off his wife; if they hadn’t he’d have killed her.

Then it was back to work. J.M. returned to 19—gluten cookies in hand—to make friends. Ben told him no one wanted him there; Audrey told him that wasn’t true. But instead of J.M. turning his gun on Suarez, it was the impersonator Audrey and Roxanne arrested that did, arriving at 19 in his fake uniform. He opened fire inside, shooting Suarez and the more officers. J.M. stood up and took several shots at the man before he himself was gunned down. J.M. looked relieved as the bullets entered his body … this was his way out, decided by someone else. A hero. The perp killed himself before Tyler, Dulac, Ben and Nick could do it themselves.

J.M. was a remarkable character and congratulations to Dan Petronijevic for playing him in such a memorable way. He was alternately funny and frustrating, a fiercely loyal officer who believed in fairness for his fellow men and ladies in blue. He had his flaws, but I’m going to miss him as the rest of this final season rolls out.

What did you think of this week’s episode of 19-2? Were you glad J.M. was a hero in the end? Let me know in the comments below.

19-2 airs Mondays at 10 p.m. ET on CTV.

Images courtesy of Bell Media.

 

 

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21 Thunder: Fixed

I knew, prior to 21 Thunder‘s debut, there would be a lot of action on the soccer pitch as well as off. I envisioned the sexy times between players and girlfriends (and perhaps fans), a little painkiller addiction and coaching scuffles thrown in for good measure.

But 21 Thunder has been so much more than that. It’s a complex interweaving of stories where some are kind of what I expected. Others have been a total shock, like Guy, the thrice-mortgaged referee who, at the beginning of Monday’s new episode “Fixed,” opened his front door to reveal an envelope full of cash on his stoop. The story, involving Thunder’s team intern Lara Yun, was a total departure from my expectations for 21 Thunder. I watch a lot of television, and I didn’t see the angle coming.

I chuckled when I tuned to the debut episode and was presented with Nolan’s gang member past. At the time it seemed cheesy and over-the-top, an unnecessary character trait added to a guy that seemed engaging enough. I was wrong about that too; that backstory was integral to what’s quickly turned out to be one hell of a back and forth between Nolan and Declan. Colm Feore is a damned national treasure and can do nothing wrong in my book, but RJ Fetherstonhaugh has been a revelation in the scenes he shares with Feore as son and father attempt to outwit the other in their prison visits.

This week’s scene at the prison between Declan and Nolan was particularly good. With Emma there to meet Declan, Nolan’s papa took the time to reminisce on his son’s childhood, connecting her with the elder Gallard and infuriating the younger one because of the guilt he feels over his mother’s death.

The drama hasn’t strayed too far from the pitch, however. “Fixed,” featured the Thunder matched up against the worst team in the league. Coach Rocas explained that meant the Vancouver team would be playing loose and with nothing to lose: a dangerous combination. Adding to the tension? The first-team coach was in attendance looking to poach talent. The match didn’t start out well; it appeared Guy was living up to the bribe when he nailed goalie Alex on a little-known—and almost never called—penalty. That, of course, lead to a Vancouver goal and a 3-0 hole by halftime. After Rocas and Nolan were tossed, it left Davey Gunn running the show. And, with some major help from Christy and Junior Lolo, it seemed the Thunder would win. Until that is, Guy blew the whistle ending game play just as Junior was closing in for this game-tying goal. Lara may have said this was a one and done game, but having $75,000 sitting in front of you is a sufficient enticement to keep the payoffs coming, especially with a desperate K pulling Declan into the whole mess.

The loss didn’t sit well with Christy, and she was going over game tape when a drunk Davey showed up at her home. He was looking for a roll in the hay but Christy’s mom had other plans: whiskey. Christy appreciated Davey tossing back booze and talking soccer with her mom; her mouth may have told him their night together was a one-time thing but her eyes were saying something else. (I wish more time was spent showing Davey and Mom getting drunk.) Christy followed up with Ana, expressing her concerns about Guy’s refereeing. Ana dismissed the allegations and doled out some advice: Christy needed to be more “active with the brand on social media.”

Finally, we got a little more insight into Junior’s brother, Gregoire. According to Mr. Bamba, he is “a very bad man.” At least, that’s what he told Fatima when she confronted Bamba and accused him of defrauding Junior of the $10,000. Turns out Bamba did find Gregoire and was the worse for it. He handed back the remaining $500 of that cash and told Fatima he was washing his hands of the whole thing.

I said off the top how pleasantly surprised I’ve been with 21 Thunder‘s first season. The writing is taut and the characters are anything but cookie-cutter; 21 Thunder has turned into my sleeper hit of the summer.

21 Thunder airs Mondays at 9 p.m. on CBC.

 

 

 

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Production Begins on Season 2 of Global’s Critically-Acclaimed Mini-Series Mary Kills People

From a media release:

Canadian broadcast and production partner Corus Entertainment, with Entertainment One (eOne) and Cameron Pictures Inc., are pleased to announce that production has begun on the second cycle of Global’s critically-acclaimed drama Mary Kills People. Following a hugely successful first season with praise from critics both in Canada and south of the border, the six-part, one-hour event series will film in and around Toronto into the fall, with the premiere set for winter 2018 on Global.

The series’ multi-talented powerhouse team behind the scenes returns, including creator and executive producer Tara Armstrong, executive producers Tassie Cameron and Amy Cameron, along with newly added directors Kelly Makin, Norma Bailey, and David Wellington with Holly Dale as co-executive producer. Also returning to Season 2 is Caroline Dhavernas as Dr. Mary Harris, along with Richard Short as Mary’s sidekick Dr. Desmond “Des” Bennett, and Jay Ryan as Ben Wesley, the undercover cop who was investigating Mary last season. New this season are Canadians Rachelle Lefevre (Under the Dome, Twilight) cast as Olivia Bloom – a mysterious woman with ties to Mary’s past, and Ian Lake (Bitten, Rookie Blue) cast as Travis Bloom, Olivia’s husband.

In the new season of Mary Kills People, Mary (Caroline Dhavernas) plummets deeper into the criminal world as she searches for a steady supply of pentobarbital, the highly regulated and highly lethal “death drug.” As she becomes more entangled in her illegal work, Mary continues to risk her family and ER doctor career as she tries to keep her worlds separate. But when the mysterious Oliva Bloom (Rachelle Lefevre), approaches Mary and her partner Des (Richard Short) with a lethal request — and when Mary crosses unexpectedly with Detective Ben Wesley(Jay Ryan) — she realizes her secrets can only be hidden for so long.

Mary Kills People is produced by eOne and Cameron Pictures Inc., in association with Corus Entertainment, and with the financial participation of the Canada Media Fund, the Ontario Film and Television Tax Credit and the Canadian Film or Video Production Tax Credit. The series is executive-produced by Tassie Cameron (Ten Days in The Valley, Rookie Blue), Amy Cameron (The Book of Negroes), Jocelyn Hamilton (Private Eyes) and Tecca Crosby (Private Eyes). The series will be directed by Kelly Makin, Norma Bailey and David Wellington with Holly Dale as Co-Executive Producer. Tara Armstrong (Private Eyes) created the series and is executive producer and writer. Additional writers include Tassie Cameron, Morwyn Brebner (Saving Hope), Lara Azzopardi (Backstage) and Marsha Greene (Private Eyes).

 

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Bell Media Licenses Its Original TV Series Format Just Like Mom; plus casting details

From media releases:

Bell Media announced today a deal to license the series format rights to its original series JUST LIKE MOM to leading Canadian production company marblemedia. The deal provides the exclusive Canadian and U.S. rights for the series to marblemedia, who has a greenlight from broadcasters Yes TV and BYU TV respectively, to re-launch the show in 2018. The multi-year format deal provides robust multi-platform and ancillary rights for JUST LIKE MOM, which will be rejuvenated, modernized and renamed to JUST LIKE MOM AND DAD and launched to a new generation of viewers.

The original JUST LIKE MOM was a popular 1980s children’s game show that was commissioned for CTV’s flagship station, Toronto’s CFTO-TV. It ran for more than five seasons between 1980 and 1985 before going into syndication.

Filmed before a live studio audience at CTV’s Agincourt studios, JUST LIKE MOM tested which mother and child knew each other best through answer-matching, the memorable bake-off challenge, and the bonus round which saw the winning team spin a wheel for the chance to win a grand prize.

Today’s announcement represents the second original format deal for Bell Media this year, following the announcement earlier this year that it has created a new, multi-platform, music series format, THE LAUNCH for CTV, its leading national network, for distribution around the world.

More information on JUST LIKE MOM AND DAD, its production, and casting can be found at http://www.justlikemomanddad.com.


Via marblemedia:

Award-winning global media production and distribution company marblemedia announced today it will begin production this fall on Just Like Mom and Dad, an exciting remake of the 80s hit game show Just Like Mom. Produced in association with YES TV in Canada and BYUtv in the US, the 20-episode primetime family game show will premiere across North America in January 2018.

A popular part of Canadian TV pop culture nostalgia, the original series Just like Mom ran over 600 episodes over five seasons from 1980 to 1985 on CTV. marblemedia secured all remake and development rights in an agreement with Bell Media. This multi-year format deal includes worldwide program and format distribution rights to the series through marblemedia’s distribution arm, Distribution360 (D360), along with digital and ancillary rights.

Just Like Mom and Dad, shot in front of a live studio audience on a bright, digital set with brand new hosts, explores how well families really know each other. Each episode will feature three parent-kid pairs competing in two interactive trivia rounds and a final bake-off round in a new kitchen coliseum. The winning team gets the chance to spin the big prize wheel.

Additionally, marblemedia will be releasing digital media components, produced inhouse by marblemedia Interactive, to support the Just Like Mom and Dad series, including an exciting mobile App.

marblemedia has partnered with Segal Licensing, who’s handling licensing and merchandising for the series and is currently in discussion with a number of brand integration partnerships for participation in the series.  Just Like Mom and Dad is financed with the participation of the Bell Fund and Shaw Rocket Fund.

Producers for the series include Mark Bishop, Matt Hornburg, Steve Sloan, Stephen Turnbull, alongside Rob Sheppard for YES TV, Jim Bell for BYUtv and Adam Iversfor Omnicom’s Highway Entertainment.

 

 

 

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Link: Cancon television regulations need updating in the age of streaming

From Kate Taylor of The Globe and Mail:

Link: Cancon television regulations need updating in the age of streaming
Shows such as the crime drama Cardinal, distinctively Canadian by virtue of its Northern Ontario setting and plot surrounding the disappearance of an Indigenous girl, would seem to be the sweet spot: It has sold into Britain and several European countries and is seen on Hulu in the United States. That’s great, but why should Canadians sacrifice the likes of Letterkenny just because foreigners may not get it? Continue reading.

 

 

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