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Featured, The Disappearance

CTV’s The Disappearance mines a fractured family’s search for their missing son

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A child gone missing. It’s one of the most traumatic things a family can face. The Sullivan family experiences that awful scenario this Sunday when the original six-part miniseries The Disappearance debuts at 9 p.m. ET/PT on CTV. Starring Peter Coyote, Aden Young, Camille Sullivan, Joanne Kelly, Micheline Lanctôt, Kevin Parent and Michael Riendeau, The Disappearance is a gripping thriller about lives turned upside down.

“What is the worst thing that can happen to parents?” executive producer Sophie Parizeau asks television critics during a set visit to Montreal. “It’s having a child that disappears. And not having answers as to why is very, very difficult. Emotionally, I think people will really connect with it.”

It won’t take long for viewers to be drawn into the story on Sunday; Normand Daneau and Geneviève Simard’s first script of six directed by Peter Stebbings is tightly-wound and traumatic, beginning with an idyllic day at school for Anthony Sullivan (Riendeau) and ending with darkness, police lights, an investigation by Lieutenant-Detective Susan Bowden (Lanctôt) and Sergeant-Detective Charles Cooper (Parent), and an overturned bicycle. Between those bookends, we learn Anthony’s father, musician Luke Sullivan (Young), and mother, microbiologist Helen (Sullivan), are signing off on their divorce, something Luke’s father, former prosecutor and judge Henry (Coyote) frowns upon. Meanwhile, Anthony has gotten in trouble at school—a class project on the community invades his neighbours’ privacy—and how to discipline him divides Henry, Helen and Luke.

Daneau and Simard brought The Disappearance to Joanne Forgues at Productions Casablanca in 2011, but after some initial interest in Quebec, the project stalled. After translating the first script into English they pitched it to Bell Media, thinking the psychological drama would fit on a variety of properties, including Bravo and The Movie Network. Bell Media bit and the project was a go, but landing their leading man proved to be a challenge: Young was starring in an ABC pilot and wouldn’t be available. But, as often happens in Hollywood, the pilot wasn’t picked up.

“They sent me three episodes,” the Canadian-Australian actor recalls over lunch. “My agent called me and asked how far I was into the scripts and I said I was on the third one. I realized I’d just been blowing through the pages … it was a real whodunnit and that excited me. This was an investigation, a let’s get into it and get after what’s happened kind of thing.”

What’s happened is key. Was the person who took Anthony a neighbour unhappy at the boy entering their home while he researched the project? Could someone Henry put in prison during his 40-year-career be exacting revenge? Or is the disappearance related to someone from Luke’s past? Secrets are revealed—and they’re not pretty—but there is at least one sliver of hope.

“Usually, something like this would break a relationship,” Sullivan says of Luke and Helen. “We’re already split at the beginning and, because we’re locked into the search for Anthony, we really do start to rediscover each other. There is also no one else in the world at that moment who can understand what you’re going through. Only the other parent, and I think that’s something that really draws us together.”

The Disappearance airs Sundays at 9 p.m. ET/PT on CTV.

Images courtesy of Bell Media.

 

 

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Alias Grace, Featured

Alias Grace: Rebecca Liddiard previews Mary’s influence on Grace’s life

Rebecca Liddiard is taking over CBC one Monday night drama at a time. At least, it sure feels that way. The Toronto-based actress can be seen in Season 1 of Frankie Drake Mysteries, which just happens to debut after her run on Alias Grace is complete.

In Alias Grace, airing Mondays at 9 p.m., Liddiard portrays Mary Whitney, the lively housemaid who befriends Grace (Sarah Gadon) when the latter arrives at the home of Thomas Kinnear (Paul Gross) to work. Grace, who lived through hardship in Ireland and survived a horrible ocean crossing to Canada, views the Kinnear farm as heaven on earth and Mary as her best friend. At least, that’s the way Grace remembers it as she tells Dr. Simon Jordan (Edward Holcroft) the journey that led Grace to murder and incarceration at the Kingston Penitentiary.

In our latest exclusive interview, we chat with Liddiard about working on Sarah Polley’s adaptation of Margaret Atwood’s book and what’s to come later this season.

This is a spooky project. Anyone who has already read the book knows Mary appears to play a part in Grace’s actions. What is the relationship between these two women?
Rebecca Liddiard: Mary has also had an incredibly difficult life, just being part of this lower class, working in service, but she has lived through the Rebellions of 1837 and 1838 and her parents were very involved in it. She has this incredibly optimistic, idealistic view of the possibility of what her life could be. That lends herself to her incredible spirit that she tries to pass on to Grace. Mary gets caught up in life and her ending is just as tragic, but I think that spirit of something better and somehow transcending this life that they’re in sticks with Grace.

This is a speculative account of what’s going on in Grace’s mind, but I’m with you … I like to think Mary’s influence—if not her spirit—continues on with Grace as the rest of the story unfolds.

Mary passes away as a result of a medical issue. That must have been an intense scene to film.
Those scenes were the first ones I shot on Alias Grace and the first shots of the whole series!

How do you even prepare for that?
A lot of it is done in the moment. It was sort of a weird day. It was the beginning of the whole thing for everybody. We went to this house in the middle of the woods at Black Creek Pioneer Village and we filmed this scene. And, you just start screaming. It was really heavy.

The climax of the miniseries involves Mary as well, when Grace allegedly channels her during a hypnosis session.
Sarah [Gadon] and I talked a lot about that. How much is Mary still a part of the story at this point? I also did some recordings for Sarah reading her script in my voice so she could play around a bit. The effect is very terrifying. It’s incredible and chilling.

Alias Grace airs Mondays at 9 p.m. on CBC.

Image courtesy of CBC.

 

 

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Featured, Podcast

TV, Eh? podcast Episode 235 — #Hautumn

This week’s episode brought to you by Mill Street Original Organic Lager and Kirkland Signature Diet Green Tea!

After beginning the podcast complaining about the heat and sharing our thoughts on Star Trek: Discovery, the last week of Canadian television programming in September and the first week of October are covered off. Then it’s the latest in Canadian TV news: Rick Mercer Report‘s final season has begun, Private Eyes greenlit for Season 3, CraveTV and Just for Laughs team for three original stand-up specials and the Bell Fund is looking to invest in YOUR idea.

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

Want to support TV, eh?’s work? Become a Patreon!

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Dragons' Den, Featured

Dragons’ Den: Arlene Dickinson teases her Season 12 return

A new night and a returning favourite are among the changes afoot for Dragons’ Den as CBC’s veteran reality series returns for Season 12. After exiting the program in 2015 to follow, as she said at the time on her Facebook page (“some big dreams, ones I want and need to chase”), Arlene Dickinson is back and ready to do battle.

Things have evolved on Dragons’ Den since she’s been gone. First, the series moves to Thursdays at 8 p.m. And second, three Dragons—Joe Mimran, Manjit Minhas and Michele Romanow—who moved in after Dickinson left. Jim Treliving and Michael Wekerle return for Season 12, meaning Dragons’ Den has six business moguls on a panel split evenly into a trio of men and women. What hasn’t been altered is the shows winning formula: budding entrepreneurs enter the studio and pitch their business idea to the Dragons in hopes of scoring a business deal.

We spoke to Dickinson ahead of Thursday’s two-hour season return:

One of the things you say during Thursday’s episode is that you left the show to found District Ventures. Did working on Dragons’ Den and having entrepreneurs in front of you influence your decision to begin this accelerator program?
Arlene Dickinson: That was certainly a big piece of it. After spending all of those years in front of people, particularly entrepreneurs in the health and food sector, and they just weren’t getting the traction that I thought they should. I kept thinking to myself, ‘Food and health is so critical in the world today and Canada has a wealth of knowledge and expertise in both areas, I’m going to find a fund that does this.’ I realized there wasn’t one and that really got me going and led me to go out and support that particular area.

You also mention in the episode that you were called and asked to return. Were you called every year since you left?
No, no. When I left, I was pretty certain I wanted to go on and do the things that I did and would need a couple of years to do that and they knew that too. I’m guessing [the producers] said, ‘Hey, maybe she’s pitchable now.’

It seems as though with every season the pitches continue to get better and more complete. Do you agree?
Yes. I think there are two things that have happened over the course of time. Maybe three. The first thing is that the pitchers are definitely better. There are bigger businesses and are coming in prepared and know who they want to speak to. And the female entrepreneurs are showing up with more confidence and a little bit more assured about what they can offer, what they do and are building a business and that’s awesome to see as well.

There are three ladies on the Dragons’ Den panel this season. Is that representative of what the business world is like now? Is there gender parity in the boardroom?
It’s certainly not that way in the senior boardrooms of corporations. It’s not anywhere near that. I think the percentage is somewhere around 17 to 20 per cent of females are in the boardroom. It’s still really still one in five. But entrepreneurs are a different story. There are more and more women going into entrepreneurial endeavours, so we’re seeing a lot more women starting up businesses and doing them home or going out and doing them as a career choice. It’s definitely growing for sure. I think more women than men, actually, are starting up businesses.

You hadn’t worked with Joe, Manjit or Michele on Dragons’ Den before. What’s that experience been like?
It takes a while to get used to the dynamic or everyone, so it took me awhile to understand where they were coming from and how they approached deals. There is a constant yin and yang because we’re competing for deals, we’re competing to be heard, we’re competing to talk. [Laughs.] So it takes awhile to pick up on each other’s style. It was certainly very interesting for me and kept me on my game and on my toes.

Were you, overall, impressed with the pitches you saw this season?
For sure. There were some really great deals this year. Some that I was really happy that I was able to get and some that I was not so happy that I didn’t get! [Laughs.] That’s kind of the way it happens. In terms of the calibre of the entrepreneurs, yeah, fantastic. There is so much innovation going on in Canada and innovation without an entrepreneur is just an idea.

What can you tell me about District Ventures?
District Ventures capital has raised about $30 million to go out and invest in entrepreneurial companies that are in the food, beverage and health and wellness consumer goods. We’re out in the market doing deals. I wish I had done this 10 years ago because it’s so much fun. It’s also hard work. The accelerator has become Canada’s top accelerator for health and wellness and it’s been a really interesting journey in learning about the mentoring and training and programming you need to give entrepreneurs what they need to be successful.

Dragons’ Den airs Thursdays at 8 p.m. on CBC.

Images courtesy of CBC.

 

 

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Bad Blood, Featured

Bad Blood: Brett Donahue on Nico Jr.’s dangerous business plans

By the end of Episode 1 of Bad Blood (catch up by watching the debut online), Mafia boss Vito Rizzuto (Anthony LaPaglia) was indicted for murders that occurred early in his career. That left a hole at the top of his crime family. And, despite Vito’s wishes that Declan Gardiner (Kim Coates) take over in his absence, it was Vito’s son, Nico Jr. (Brett Donahue), who stepped into the void.

Nico Jr., not interested is merely sitting back, feels a Rizzuto should be boss, and that means him. But, as viewers will see in this week’s episode, Nico Jr.’s decision has repercussions. In our latest interview—done from the set of Bad Blood in Sudbury, Ont., last year—Winnipeg native Brett Donahue explains his character’s actions and what it could lead to.

Did you know anything about the Rizzuto family before becoming involved in Bad Blood?
Brett Donahue: Not to the extent of what the Rizzuto family meant. We think, living in Canada and growing up in Winnipeg, there is organized crime and gangs and all that. But the Mafia, the iconic mob, was always something in New York or Chicago. But, I was in Montreal, because I was studying in Montreal, and I remember hearing on the news that Nico Sr. had been assassinated in his home and hearing—even for a murder—that it was a faux pas because it had happened in the home, which is something that you don’t do unless you’re trying to send a really strong message out. I was interested in who these people were and I learned a little bit more.

But, when received all of this stuff I read more into Vito’s accomplishments. As nefarious as he might have been, he was a real businessman and really, really built up this empire, first with his father and then with him, into this syndicate in Montreal.

You had this option, you had this path, this possibility of something different, but you’re going to put yourself in danger.

Growing up in southern Ontario, I heard nothing about this at all.
Well, that’s the thing. When things are running well, you don’t hear anything about it. It’s an eye-opener.

Give me the lowdown on your character, Nico Jr. What did you discover in your research and in the scripts?
In the research, I found out a lot more about Vito than Nico Jr., but in our story—which is a lot of fun to play—is this man who is coming into his own and he really wants to be a part of the family business. Like any story in a family business and ownership being passed down the line, he wants his turn to continue the prosperity that his grandfather and now his father built and prove his worth. The actions that he takes in our story is one of that, of wanting to protect his family and hold onto the power and prove himself as a man.

But his dad didn’t want him to continue the business.
That’s the thing. His dad protected him. But this is the classic immigrant story; the first generation works really, really hard so that future generations don’t have to, or have a better opportunity. So, his dad, out of real protection and love, wanted to have Nico Jr. have his hands clean. In this world, you’re always looking over your shoulder and expecting something. You’re never in an even-keeled, tranquil state. He really didn’t want him involved, but when Vito is indicted, Nico sees that as his moment to step in and prove himself. And it’s not just out of an ego-driven place, but it’s one of the only people you can really trust is family. And, the only way the groups that work with us is if a Rizzuto is in power. If there is any doubt in them, everything crumbles.

There is no retirement plan for the mob and yet Nico Jr. wants to do this despite the bloody, violent history.
He’s not an idiot or ignorant to what his family has done. And, I guess growing up in that environment, he’s comfortable with that level of risk. But the beautiful thing that we’ll see in our story is that there will be a sympathetic sense to Vito because, despite everything that has happened, he’s trying to turn things legitimate. If he gets his business out, he might still be in danger for the crimes he’s committed, but his family won’t. They’re out of it. That’s why it’s so disheartening to see Nico Jr. go down that path. You had this option, you had this path, this possibility of something different, but you’re going to put yourself in danger, your wife in danger, your kids and anyone else down the line in danger.

Bad Blood airs Thursdays at 8 p.m. ET on City.

Look for more coverage of Bad Blood from our set visit late last year in the coming days, including exclusive interviews with actor Enrico Colantoni and director Alain Desrochers, and Business or Blood: Mafia Boss Vito Rizzuto’s Last War authors Antonio Nicaso and Peter Edwards.

Image courtesy of Rogers Media.

 

 

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