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Review: 19-2 heads into a new direction

Quite often it’s the physical action on 19-2 that keeps me riveted to the screen. But there are times when conversations between the characters have me on the edge of my seat. That was certainly the case with Monday’s latest, “Tables,” when Ben finally came clean to Nick that he had been spying on him.

To say this was a relief for me is an understatement. Nick and Ben have developed into a fantastic partnership and having this hanging over them has made me feel very uneasy. To be honest, I was expecting major fireworks between the two once Nick found out—maybe a wrestling match like we saw in the cabin last season—but Nick was surprisingly cool even though Ben pulled his gun at the height of his fright. I’m guessing the fact Ben’s apartment was torn apart and his files stolen caused Nick to realize his partner wasn’t spying on him because he enjoyed it. Still, Ben betrayed Nick’s trust and they won’t simply bounce back from it in a week.

Nick’s own investigation into who the mole in 19 will certainly make strides in the right direction. Arresting the guy Nick saw in the pizza place—the same fellow who had the underage girl in the hotel room—and booking him on drug and weapons charges caused the fellow to request help from their “friend in 19” has gotten the ball rolling. From the way he’s been acting, it looks like Commander Gendron is the mole. He’s been pretty shifty lately and been caught looking out the window a lot, which means he’s reflecting on decisions he’s made in his life.

Past decisions revisited Bear this week. A call to a strip club reunited she and former girlfriend Mary Louise, who planted a big kiss on Bear—much to J.M.’s glee—and demanded a dinner date. Dinner went well, but some after-dinner oral sex seemed to go even better. I’m guessing the reunion, paired with Mary Louise’s desire to turn over a new leaf, means Bear will be questioning that life plan she’s got all figured out.

Notes and quotes

  • Kudos to composer Nicolas Maranda for creating haunting moments with 19-2‘s theme and background music.
  • I never realized the police were given a specific time during their shift to eat. I assumed they just did it whenever they were peckish.
  • I don’t know what “squished chicken” is, but I want some. With rice.
  • “I don’t mind a bit of grime.” Line of the night from J.M.

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

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Orphan Black return blocked from AMC in Canada

Turns out the only place Canadians will be able to catch the Season 3 debut of Orphan Black will be on Space. Bell Media, which owns the specialty channel, announced Monday afternoon that fans would not be able to tune in to AMC for their clone fix on April 18.

“Space is the exclusive Canadian broadcaster for its original series Orphan Black,” confirmed Scott Henderson, vice-president of communications for Bell Media. “As a result, Orphan Black will not air on AMC in Canada.”

It makes sense for Bell Media to make the move; it means their broadcast and ratings aren’t watered down by viewers tuning to another channel.

The news comes days after AMC Networks announced BBC America’s flagship show would be broadcast across four other networks in the U.S.—AMC, Sundance TV, IFC and We TV—in a bid to capture as many viewers as possible. AMC broadcasts in Canada, allowing viewers north of the border access to series like The Walking Dead, Breaking Bad, Better Call Saul and Halt and Catch Fire.

AMC will air a repeat episode of Mad Men in that timeslot.

“Orphan Black is a truly outstanding original series that has attracted consistent and widespread critical acclaim as well as a considerable, growing following from viewers,” AMC Networks CEO Ed Carroll told Variety at the time. “AMC Networks is a channel group known for high-quality storytelling and creating a premiere television event for Orphan Black is a perfect opportunity to use our programming assets to help extend the reach of this quality series.”

As previously revealed by Space, the third instalment of Orphan Black begins with Sarah (Tatiana Maslany) fighting to locate Helena while a threat from Castor (Ari Millen) looms. Orphan Black is nominated for a total of 13 Canadian Screen Awards, including nods for co-stars Maslany and Jordan Gavaris.

Orphan Black returns Saturday, April 18, at 9 p.m. ET on Space.

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He Said/She Said: Do the Canadian Screen Awards matter?

Join Greg and Diane on Mondays as we debate a TV-related issue that’s on our minds. This week: with the Canadian Screen Awards broadcast coming up on March 1, we ponder whether they matter.

Diane said:

“Matter” is such a big word. Every profession has awards, and they tend to matter a lot to the people receiving them. I remember the pride I felt as a young teen for winning Harvey’s Employee of the Month award (less so when I realized it was because I’d done such a good job of the terrible assignment to scrub the insides of the giant garbage cans). The difference with TV and film awards is they’re televised, and the audience cares more about them than hamburger customers do.

I rarely see a show or actor trumpeted for the rest of their career as a Gemini or Canadian Screen Award winner, as you see with Oscars and Emmys, but the size of our country — and therefore the size of our industry and audiences — help explain why the cachet isn’t the same.

It’s nice for people to be recognized for the quality of their work rather than the audience reaction, which can be two very different things. Though the CSAs – come on, can’t they come up with their own official nickname — have a fan award and ratings award too. Not content with being Canada’s answer to the Oscars and Emmys rolled into one, they have to be the People’s Choice and Nielsens, too.

Above all, the awards provide the opportunity for promotion, and the Canadian TV industry needs more of that. Debating winners, snubs, whether the awards matter — it’s a vehicle to get us talking. Do the most worthy shows and people always get nominated and win? Of course not, and it’s too subjective to say anyway, as with all awards. I’m sure there was a Harvey’s employee seething that they lost to someone who scrubbed garbage cans.

Greg said:

First of all, belated congratulations to Diane on her Harvey’s Employee of the Month award. I’ve never gotten any awards outside of those Canadian Fitness Awards they gave out in elementary school and mine read “Participant.”

Like Diane said, “matter” is a subjective word but I think the Canadian Screen Awards matter. A lot. The Brits have their BAFTA Awards and the U.S. have copious awards to pat themselves on the back about, so why not us? Except the CSAs represent something that I think is very important: an acknowledgment that we know how to make great television and feature films. It’s true that we don’t have a funky, cool pet name for the trophy given out, but that’s not a big deal to me. What isa big deal is broadcasting to the country that there are passionate people working in the Canadian television industry that fight incredible odds just to get shows on the air in the first place.

Are the CSAs perfect? No. Sometimes the nomination list comes off like a popularity contest (something any award show is accused of) and the three-night event is often scoffed at for being too bloated. But I’d much rather there be too many than not enough trophies. It’s time for Canadians to stop complaining about the dearth of good television (those baby steps are being taken), and check out the CSAs on March 1. See who wins, make a note of the show they’re nominated on behalf of and then watch an episode of that show. That’s how I found out about Blackstone and it’s a gateway for others to do the same.

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Has Canada found its Outlander? Lost Girl showrunner takes on Nora Roberts

Has Omnifilm Entertainment found Canada’s Outlander? Everyone at the production company are crossing their fingers and going all in on Nora Roberts’ Blood Magick and snagged former Lost Girl showrunner Emily Andras to head it up.

Omnifilm, which has produced homegrown series like Arctic Air, Ice Pilots NWT, Robson Arms, Primeval: New World, Defying Gravity and Edgemont, announced earlier this year that they had secured the rights to Roberts’ The Cousins O’Dwyer trilogy. Set in Ireland, the books spotlight sorcerer cousins Iona, Branna and Connor O’Dwyer as they take on the dark sorcerer Cabhan; Blood Magick is the third book title. Of course, fans of Lost Girl know Andras, who departed showrunning duties on the Showcase drama after Season 4.

“If I had my druthers I would only work on a show in the female-driven genre going forward and Blood Magick really ticks all of those boxes,” she says. “It’s all about the power of magic, it has an incredibly strong female protagonist, it has very high stakes and themes of family and love. And it doesn’t hurt that it’s set in one of the most beautiful counties in Ireland.”

She jokes it wasn’t until she signed on to develop and executive-produce Blood Magick that her mom finally understood what her daughter did for a living.

“My mother was a librarian and has read everything that Nora Roberts has written,” Andras says. “I think she thought I fixed TVs … I’m not sure. But now she’s like, ‘Look, Andras, you better not screw this up.'” One could excuse Andras for being nervous about adapting Roberts’ works into a TV series; there are more than 500 million copies of her 200-plus novels in print and every book she has released since 1999 has been on the New York Times bestseller list. And while the Toronto-based TV writer, who has worked on everything from Instant Star and Degrassi: TNG to King and the upcoming Killjoys admits to being a little nervous, she’s received nothing but support from the woman who wrote the source material.

Blood_Magick_Cover

“I had the pleasure of speaking to Nora Roberts and she is such a professional,” Andras recalls. “She could not have been so supportive insofar as, yes, the world and the characters are there and that’s what really set the books apart and makes them so incredible, but she understands that because you’re going to a visual medium some things will change.”

Andras is currently working on the adaptation. There’s no time-frame attached to when Blood Magick will debut on the small screen, but according to Omnifilm partner Brian Hamilton, broadcasters are already lining up to talk about possible partnerships.

Blood Magick is one of a number of scripted series in development at Omnifilm that include Pacific Spirit, a family drama tied to CBC; Lovejoy, an adaptation of Jonathan Gash’s mystery novels; Beowulf, a serialized drama for The Movie Network and Movie Central; Homegrown Terrorist, set in the world of domestic terrorism and law enforcement; Corrective Measures, a superhero drama developed from Arcana Comics’ series; and The Last Spike, a miniseries based on Pierre Berton’s historical novel.

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Hard Rock Medical plays a mean game of Tetris

Derek Diorio has created hundreds of hours of film and television and knows well that you can’t please everyone all the time. “Somewhere along the line, somebody savages the show.”

Except Hard Rock Medical, the show he co-created with Smith Corindia. The  series has never had a bad review (knock on wood).  “The worst somebody called it was ‘maybe a little too earnest.’ If that’s the worst we get, I think we’re doing OK.”

That seems like a challenge to me, but I can’t do it either: after discovering it part way through its first season, its blend of quirky humour and absorbing character drama  instantly made it a favourite.

Based on the unconventional Northern Ontario School of Medicine, centred around eight medical students learning how to deliver health care to isolated residents,  Hard Rock Medical has been difficult to find even amid the witness-protection-level-promotion of many Canadian series. I was assigned a story about it last summer and had to stifle my “Hard Rock what now?” reaction.

Season two launched last week on TVO — episodes are available online. It gained a nation-wide broadcaster when APTN picked it up after the Australian co-producer dropped it (season two will likely air in April there).

The second season retains its humour but takes a darker turn. “Thematically, there’s a lot of questioning of faith,” said Corindia. “We’ve got Healy questioning his medical career and battling alcoholism.”

“I hate talking about it but mental illness was the underlying theme of this season,” said Diorio. “The pressures you have in your life, things you have no control over that  affect people in very different ways. But if you put that out there, who’s going to watch it?”

How they approach themes is why those who have discovered the show want to watch. Within the first couple of episodes, for example, med student Charlie’s goat (received in payment for treatment) may have swallowed some diamonds, so what’s a man to do but sneak it into a vet’s MRI machine? It’s a comedic entry point to the impending doom of Charlie’s financial situation, another example of the personal cost of pursuing a medical career.

Instead of following a syllabus as with the first season, season two incorporates medical emergencies into the students’ lives. “Healy is a medical emergency,” Diorio pointed out, while Corindia gave the example of Nancy’s estranged husband suffering a stroke. Incorporating the personal stories with the medical cases was one way to make the series more compact.

With eight med student characters and a handful of faculty vying for air time, it’s not easy for a half hour show to serve all the characters. Going from 13 episodes in season one to eight in season two threw in a bonus challenge.

“It’s kind of like a Tetris game,” said Diorio.

They plotted out storylines for four major characters: Charlie (Stéphane Paquette), Healy (Patrick McKenna), Farida (Rachelle Casseus) and Cameron (Jamie Spilchuk). Then came the “mini-majors” and the more minor characters.

“Last year Gina figured much more prominently,” Diorio lamented, “but this year we ran out of real estate. Her story is actually a ton of fun but we just didn’t have time to get into it.”

Corindia explained that people see the ensemble as the med students especially, but this season gives more weight to some of the faculty as well.

Given the tricky financing and huge cast, it seems a minor Canadian TV miracle that the show doesn’t scream low budget.

“Everybody works for free,” Corindia jokingly explained.

“The joy of the show is everybody has bought in,” Diorio continued more seriously. He gives the example of Australian actor Mark Coles Smith, originally cast as part of the Australian co-production deal. Without that deal, Hard Rock Medical takes a financial hit to bring him in, but the producers feel he’s an integral part of the show. His agent isn’t keen on him continuing with a (let’s say it:) obscure Canadian series while his career takes off in his home country. Yet both sides are eager to have him back for a potential third season.

“Part of that is they get to do something they don’t get to do anywhere else,” said Diorio. “We are a dot on the landscape and we get calls from actors who want to be on the show.”

“They’re invested in characters as well as the show,” added Corindia. “But  at the end of the day, I mean come on, you are on a TV series.”

Patrick McKenna, whose character isolates himself in a cabin and in addiction, is nearly unrecognizable, completely absorbed into the role.

“I think it’s safe to say he’s never played a role this dramatic and funny at the same time,” said Diorio. “Wait until you see where he goes.”

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