Everything about Burden of Truth, eh?

Filming in Winnipeg has begun on Entertainment One’s Burden of Truth Season 3 for CBC

From a media release:

Entertainment One (eOne), ICF Films and Eagle Vision today announced that cameras are rolling on Season 3 of CBC original drama series Burden of Truth (8×60). Following attorney Joanna Chang (Kristin Kreuk; Smallville, Beauty and the Beast), Burden of Truth continues production in Winnipeg until late October. Burden of Truth airs on CBC in Canada and the CW in the US.

In Season 2, corporate attorney Joanna Chang was dragged into the shadowy world of hackers and activists in a case that threatened her life. In the new season Joanna and Billy Crawford are working together in their new boutique law firm, Crawford Chang, when an old friend abruptly re-enters Joanna’s life in desperate need of help. To save her friend, Joanna must take on an impossible-to-win case and confront a long-buried secret from her childhood that may threaten her relationship and partnership with Billy. After this case, nothing will be the same again.

Reprising their roles for Season 3 are Peter Mooney (Rookie Blue, Saving Hope) as Billy Crawford, Millwood’s local attorney; Star Slade (Emerald Code) as Luna Spence; Meegwun Fairbrother (Mohawk Girls, Hemlock Grove) as Officer Owen Beckbie; and Anwen O’Driscoll (Emerald Code, Flint) as Taylor Matheson.

A CBC original series, Burden of Truth is produced by ICF Films, Entertainment One and Eagle Vision. The series is created by Brad Simpson (Rookie Blue, King). Adam Pettle (Saving Hope, Nurses) returns as showrunner and will also write on Season 3. Burden of Truth is executive produced by Ilana Frank (Saving Hope, Rookie Blue, The Detail), Adam Pettle, Linda Pope (Saving Hope, Rookie Blue, The Detail), Brad Simpson, Jocelyn Hamilton (Mary Kills People, Cardinal), Kristin Kreuk and Eagle Vision’s Kyle Irving (Taken, Ice Road Truckers, Lovesick). Co-Executive producers are Lisa Meeches (Taken, Ice Road Truckers) and Tyson Caron (Lovesick, Wynter). For CBC, Sally Catto is General Manager, Programming; Trish Williams is Executive Director, Scripted Content; Helen Asimakis is Senior Director, Scripted Content; and Sarah Adams is Executive in Charge of Production.

BURDEN OF TRUTH is produced with the participation of the Canada Media Fund and Manitoba Film and Music, and with the assistance of the Government of Manitoba – Manitoba Film & Video Production Tax Credit, the Ontario Film and Television Tax Credit and the Canadian Film or Video Tax Credit. eOne holds worldwide distribution rights to the series.

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Comments and queries for the week of July 26

I have been a fan of Kristin Kreuk since Smallville. You are a captivating actress, you make the fans feel your emotions, happiness, disappointments and you steal a scene with your appearance. I watched the final episode [of Burden of Truth] sitting in my chair waiting for your legal experience to free your sister. I was more than happy to see that there is a Season 3. Hopefully, there will be many, many, more seasons. The only issue I have I wish there were more episodes per season. Keep up the great work, you’re a professional and we can’t get enough of you. —Inez


A man behind the wheel of a car.Oh, [the cancellation of Canada’s Worst Driver is] sad, but it was a long run for this great show. I’ve learned things while laughing and cringing, wondering how some people could drive so badly. Thanks for 14 excellent seasons. I’ll keep watching the reruns. —Michelle

Oh no! It was a staple. A must! How can it be over? So many people have learned so much—like which cities not to drive in! It’s the only show I PVR. Discovery without Younghusband. Doesn’t seem realistic. Time to review my channel line-up. —Linda


Two people ice fish.Cab drama, money drama, EPs, penalty, and a good task mix (physical diving, detailed diamonds and mental maps). A little of everything. Trish and Amy twice ditched by a cab (poor planning on production’s part to leave people stranded outside after the dive) and two cabs stolen by Dave and Irina. That, plus the Express Pass Princess and Penalty make them the villains for sure, sorta rare for the Canadian Race. Leg design was a bit wonky, why have them leave Slave Lake only to go back? Multiple Express Passes gone in the same episode. This is the second or third season in a row this has happened. Teams just seem too eager to use them. At least one is still in play. Still no season of The Amazing Race Canada without at least one penalty. Lucky for Sarah and Sam about the geoscience building and the money thing, the latter of which reminded me of older The Amazing Race U.S. Strong episode even with the non-elimination. —DanAmazing

This episode was good TV. With Jet and Dave gone so early (still sad!!) the entertainment factor was sorely lacking in the next couple of episodes that followed. Love them or hate them, Dave and Irina provide another reason to watch TARC besides just the race, which can be boring some episodes by itself. The underwater dive looked like fun? OK not really (I can’t swim) but it was a refreshing idea. The staff at the geoscience building rocked!! Rooting for the moms and the twins and the athletes and the Edmonton married couple. Stay real and Go Teams Go!! —Tunie

Got a question or comment about Canadian TV? Email greg.david@tv-eh.com or via Twitter @tv_eh.

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Burden of Truth: Kristin Kreuk reflects on her past and looks to the future

Kristin Kreuk has, literally, grown up on television. The Vancouver native, who landed roles on both the Canadian teen drama Edgemont and The WB/The CW superhero series Smallville in 2001, has seen steady work since.

Her current role? Playing Joanna Hanley on CBC’s Burden of Truth, where she also serves as an executive producer. With Season 3 of the CBC legal drama in production for a winter return, we sat down with Kreuk during the Banff World Media Festival, where she received the Canadian Award of Distinction.

How do you view it when it comes to women being represented either in front of the screen or behind the scenes? Obviously, there’s an issue. Do you feel as though it’s getting better?
Kristin Kreuk: Absolutely. Are we there yet? No. We’re not. I’ve said this many times, but prior to, I think I’ve worked with two female directors on my seven and a bit years on Smallville. Maybe one more than that. So going from that to, I worked with a few more on Beauty and the Beast, and with Burden, we don’t get a lot of directors but for our first two seasons it was like 50:50. Now it’s not, but a part of the reason why it’s not is that so many women are hired across the board until mid-2020. So that’s great. It just means that there are spaces now for the young ones to come up and fill that void. And they need to be supported to do that. And given the chances.

But yeah, I think that it is changing. And in Canada, I feel like we may be a little further ahead and I don’t know for 100 per cent because I haven’t worked in the States for a while, but from what I hear anecdotally you can still end up in a writers’ room in the U.S. and it isn’t even close to par. It’s very much weighted towards male voices. So I know that they’re working on it too.

It feels as though, to me, this has been a natural evolution for you, to move towards being an executive producer. Has it been a conscious decision?
KK: It was a conscious decision for me. I was just joking with these guys. I have been saying for years that I’m done with acting. I want to produce. And I’m moving in that direction. And so it was a decision I made because A, some of this is very practical. I have no other skill sets. I’ve been doing this since I was 17 years old. I understand, I’m going into my 19th season as lead on a television series, which is so insane to me. So I have all this experience with storytelling and I’ve seen how you start a story and I can kind of imagine where it’s going to go and how it might fail or what might happen to it. So all of that lends itself to moving into a more creative producing role.

A woman looks off into the distance.It’s still hard for me to make the transition. I think that it will be a process over time to the point where I can take on a show more on my own and not have other producers that I need. I will always have people, I think because I’m not a money person and just it’s not my skill set yet. Maybe it will be one day. As of now, I don’t feel like I have the entire skillset required to do the job, but I think that I’m getting closer and closer.

Directing? Does that interest you at all?
KK: You know what, it doesn’t. And I wish it freaking did. I wish that’s what I wanted to do. I think I’m a visual person. I think I’m just uncomfortable handling a set. I think that it’s a very specific environment that I just don’t… And it’s not even out of fear. I just don’t want to do that. I don’t think. I mean, never say never, I suppose. But I have friends who are like, ‘Yeah, I want to direct,’ and they’re former actors who are moving into other fields. Women especially want to move out of acting because as you get older, sadly, you sort of age out a little. Which we can also change when we’re in positions of power. But yeah, I wish, I wish, wish. Directing, I wish, directing.

It was interesting watching those Season 1 and Season 2 clips again this morning because, specifically the Season 2 clips that I made note of, where the camera was in tight. I feel like that’s different from season one.
KK: It’s new. We made a conscious decision to change the look of the show between Season 1 and Season 2. And then Thom Best, who was our Season 2 director of photography, and director Grant Harvey got together and kind of pitched a whole look. And they were like, ‘We want to get more intimate close-ups of the characters,’ which we had certainly not done and I’m always like, ‘Blah, I don’t want to be that close.’ But it really was effective. Really effective.

Not only that, they shift compositionally. So they changed the compositional palette of the show and the colour palette, too. The whole thing is a little more cinematic versus season one, which was also beautiful, but much more like small-town and warm and glowy and I think that the shift was really great for the story that we were telling for season two.

You mentioned Edgemont so I have to ask you about that. It’s on Encore+. Have you gone and looked at any old episodes?
KK: God, no. I can’t do it.

Isn’t that incredible that this show that you made is now available on YouTube for people to stream any time they want?
KK: It is so bizarre to me that Edgemont was and continues to be popular. It was so popular. Not just in Canada. In France, it was massively popular. I would get recognized for Edgemont in France. So funny. And I was on Smallville simultaneously. I did both those jobs at the same time. And I think that it’s great. It’s such a fun small little show and we did five seasons of that show. And it was great. I loved it. I mean, I hated it at first because I had no idea what I was doing and I felt so uncomfortable, but I grew to love it.

A woman, looking angry, talks to a man.What would you have told your younger self?
KK: I would’ve told myself to take classes. I would’ve told myself to make an effort to develop a deep relationship with acting because I didn’t have one and I didn’t understand it. I had only done theatre. So when I started acting, I didn’t know how to be smaller. And then when I did smaller, I lost all of my feelings. And so it was this weird thing and instead of just going like, ‘I’m uncomfortable and I don’t know what I’m doing. I’m just going to go and work really, really, really hard.’ I got scared. And I was like, ‘I’m not doing this any more.’ And it turned out that I just kept doing it and I never really gave myself the time to develop a craft. And I did it all on set. Which is fine, I guess, in the end, but it put me through a lot of discomfort of being like, ‘God, I suck, I suck, I suck, I suck, I suck.’

There are just so many things I would’ve told myself. Also, ‘Don’t stress so much,’ is great too. I think the big lesson, too, is getting over the hump of caring too deeply about what people think of you in a negative sense, because when we started on Smallville, there were no social media. Thank God. But there were forums on the Internet and, I forget, there’s actually a technical term for it, but when you’re drawn to reading the worst things you can about yourself.

It was just something that I was compelled to do. It was almost like I was trying to numb myself to this thing. But why did I care what these people thought? If they thought my eyes were too far apart or they thought that I looked too young or they thought whatever. Or that I was this or that. I’m like, ‘Why was I obsessed over this?’

Season 3 of Burden of Truth returns in winter 2020 to CBC.

Feature image courtesy of Kristian Bogner. Other images courtesy of CBC.

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Kristin Kreuk and Jonathan and Drew Scott win 2019 Rockie Awards

Canadians Kristin Kreuk and  Drew and Jonathan Scott were among the winners celebrated during the Rockie Awards gala on Tuesday night at the Banff World Media Festival.

Hosted by Jann Arden—who kept the night light and upbeat with tales of bad relationships and once suffering from diarrhea onstage during a performance in Berlin—the festival honours outstanding talent and executives from the industry.

“We want to extend a giant thank you to all of the people who made this possible for us,” Jonathan Scott said. The pair were given the Innovative Producer Award, which recognizes the entrepreneurial excellence and achievements of an independent producer in TV/digital media. The Scott Brothers have amassed an empire of television programs through Property Brothers and spinoffs, as well as launching programs under their production banner like Menu Match-up, Reno, Set Go and Half Price Paradise. Past honorees of the Innovative Producer Award include New Metric Media, Wolf + Rabbit, Don Carmody and marblemedia.

“The reason that I am standing here today is in large part due to luck/privilege and other people who could see more of the playing field than I could,” Kreuk said. The star and executive producer of CBC’s Burden of Truth was given the Canadian Award of Distinction for a body of work that exemplifies outstanding achievement in the entertainment industry. Past honorees include Sheila Hockin, Just For Laughs, Eric McCormack and Kim Cattrall.

“I never really set out with a plan to do any of this, and along the way, I have made some good decisions and some terrible ones,” Kreuk said. “There are times that I just wanted to leave and times I’ve been devasted by the toxicity of this business. And without good, solid people around me, professionally and personally, I would not have made it this far.”

Here is a complete list of the winners:

CANADIAN AWARD OF DISTINCTION:
Kristin Kreuk (Burden of Truth, EuroTrip, Smallville)

INNOVATIVE PRODUCER AWARD:
Scott Brothers Entertainment Inc.

PROGRAM OF THE YEAR:
Surviving R. Kelly

THE GRAND JURY PRIZE:
Sharp Objects

AWARD OF EXCELLENCE:
Paul Feig (Bridesmaids, Freaks and Geeks, Ghostbusters, The Heat)

SHOWRUNNER OF THE YEAR:
Jed Mercurio (Bodyguard, Line of Duty)

A+E INCLUSION AWARD:
Kitti Jones, survivor and author, Brie Miranda Bryant, SVP and Executive Producer, Lifetime, dream hampton, executive producer, Tamra Simmons, executive producer (Surviving R. Kelly)

THE HOLLYWOOD REPORTER IMPACT AWARD:
Justin Simien (Dear White People)

SIR PETER USTINOV COMEDY AWARD:
Bill Hader (Barry, Trainwreck, Saturday Night Live)

Image courtesy of Kristian Bogner.

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CBC announces first round of renewals for the 2019-20 season

From a media release:

As Canadian Screen Week kicks off and CBC celebrates 236 nominations at the 2019 Canadian Screen Awards, the national public broadcaster is confirming an initial round of original scripted and unscripted renewals for the upcoming 2019-20 season on CBC and the CBC Gem streaming service. To date, 17 titles across drama, comedy, factual, arts and documentary programming have been confirmed to return, with additional renewals across all genres and content areas to be announced later this spring.

Returning series for 2019-20 confirmed to date are as follows:

  • ANNE WITH AN E (Season 3, 10×60, Northwood Entertainment)*
  • BARONESS VON SKETCH SHOW (Season 4, 10×30, Frantic Films)*
  • BURDEN OF TRUTH (Season 3, 8×60, ICF Films, Entertainment One and Eagle Vision)
  • CBC ARTS: EXHIBITIONISTS (Season 5, 26×30, CBC Arts)
  • CBC DOCS POV (Season 5, 18×60)
  • CORONER (Season 2, 8×60, Muse Entertainment, Back Alley Films and Cineflix Studios)
  • THE DETECTIVES (Season 3, 8×60, WAM Media GRP Inc.)
  • DRAGONS’ DEN (Season 14, 10×60, CBC)*
  • FRANKIE DRAKE MYSTERIES (Season 3, 10×60, Shaftesbury)
  • THE GREAT CANADIAN BAKING SHOW (Season 3, 9×60, Proper Television)*
  • HEARTLAND (Season 13, 10×60, Seven24 Films and Dynamo Films)
  • IN THE MAKING (Season 2, 8×30, White Pine Pictures)
  • KIM’S CONVENIENCE (Season 4, 13×30, Thunderbird Entertainment)*
  • MURDOCH MYSTERIES (Season 13, 18×60, Shaftesbury)
  • THE NATURE OF THINGS (Season 59, 18×60)
  • SCHITT’S CREEK (Season 6, final season – 14×30, Not A Real Company Productions Inc.)*
  • STILL STANDING (Season 5, 13×30, Frantic Films)*

*Previously announced as returning

CBC is celebrating 236 nominations at the 2019 Canadian Screen Awards, a new record for the national public broadcaster. ANNE WITH AN E and SCHITT’S CREEK each received 15 nominations – the most for any scripted series this year. THE NATURE OF THINGS was honoured with 21 nominations and CBC DOCS POV received seven. Other returning titles that were nominated include: BARONESS VON SKETCH SHOW (5), FRANKIE DRAKE MYSTERIES (5), THE GREAT CANADIAN BAKING SHOW (5), MURDOCH MYSTERIES (5), STILL STANDING (4), IN THE MAKING (3), THE DETECTIVES (2), BURDEN OF TRUTH (1) and DRAGONS’ DEN (1).

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