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Industry Update – CTV/Bell Media 2013 Upfront

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CTV/Bell Media’s “Amazing” 2013 upfront was held at the Sony Centre for the Performing Arts, in Toronto, Ontario. It was the third straight year the upfronts were held there. The press conferences were, as always, held at Bell Media’s home offices at 299 Queen Street West.

CTV expanded the number of press conferences this year, from six to seven. The Canadian originals – The Amazing Race Canada and Satisfaction – came first. CTV’s press conferences are largely a showcase for new imported programs. This year featured ABC’s The Goldbergs, CBS’ Intelligence (this one’s about a microchip-enhanced operative — it looks silly), CBS’ Hostages, and syndicated talk show Bethenny. Fox’s The Following rounded out the bill, as the “returning favourite.”

Bell Media’s upfront presentation was fairly straightforward. It was the longest of the Big Three upfronts, at ninety-plus minutes. For its length, it didn’t have much to say beyond the standard talking points. I assume this was by design. Bell Media formally welcomed Astral Media into its family in 2012, barring “little things” like CRTC regulations…that were actually acted upon. For 2013, Bell showcased what they actually owned.

Bell Media dialed back the hubris, compared to last year. The only hint of the Bell-Astral deal was the announced Bravo GO multi-screen initiative. Mostly, Bell showcased supporting players from its American imports, as well as stars from its Canadian shows.

The clips for Canadian shows were blended with the clips for American shows, so CTV wasn’t shoving its original content into a cultural ghetto. CTV took pride of place in Bell Media’s hierarchy, with CTV Two announcing The Big Bang Theory…in syndicated weekday rerun form. Anger Management and Hot in Cleveland — six nights a week of Hot in Cleveland were also patched into CTV Two, as well as six nights a week of Mike & Molly. It’s obvious CTV Two is the home of shows CTV doesn’t want to lose to CHCH.

Cirque du Soleil topped and tailed the upfront presentation. Castmembers from Saving Hope, The Listener, Orphan Black, The Amazing Race Canada and Motive were on hand for pictures during the afterparty.

There’s a commercial element to this, of course. Bell Media runs a joint venture with Cirque du Soleil. Bell wants The Amazing Race Canada to be a hit for CTV. Motive, The Listener and Saving Hope are hits for CTV. Orphan Black does well on SPACE, and on BBC America.

One thing that bothered me about the 2013 CTV/Bell Media upfront: I was told I couldn’t take pictures of the presentation, the afterparty, or the tweets (including one of mine) that cycled during the upfronts. Come the afterparty, the tweet cycle included pictures of both events. Many of the pictures were of a giant birdcage, with Cirque du Soleil performers inside.

Bell Media showcased afterparty tweets — a few from accredited press members – as part of the afterparty. I’m not criticizing Bell Media; I just found the miscommunication strange. Bell Media announced a relationship with Twitter Canada as part of the upfront. Ad buyers were no doubt going to tweet about the cage, and Jon Montgomery handing CTV Programming and Sports executive Phil King a beer pitcher.

As for The Social, I didn’t find its sales pitch that strong. It came across to me as The View, with social media elements. That’s a thin premise to hang a talk show on. Perhaps The Social will make more sense once it airs. If the chemistry between the four hosts aren’t there, Twitter AMPLIFY content won’t make up the difference.

I didn’t mind the CTV/Bell Media 2013 upfront. Bell Media is still slow to embrace video-on-demand, but it has a better overall grasp of how to handle its Canadian content. Whether it follows through on a statement to make more Canadian content remains to be seen.

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Interview: Agam Darshi of CTV’s upcoming Played

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TV, eh?’s Adam Langton interviewed Agam Darshi, Canadian-raised actor from shows such as The L Word, Dan for Mayor and Sanctuary. Now, Darshi is filming CTV’s new crime drama Played, where she plays Khali Bhatt, a member of  a unique team of law enforcement officers.

 

Played is billed as a crime drama but of course that doesn’t quite tell the whole story — there’s a twist to this concept that sets Played apart from other police series. Do you want to tell us a bit about that?

Basically it’s about undercover cops, which is something that we don’t get to see too much on TV. So it is a crime drama but it takes things to a more personal level because we have these cops who are using their own lives, pretending to be other people, and they try to catch the bad guys from that angle. So it’s pretty interesting and speaks to a deeper level.

Is that even more interesting to you as an actor, playing a character that also has to act and do these undercover things?

Definitely, yes. In some ways you get to be lots of different people. The really cool thing about this series is that they have kept a level of realism. So we’re not just like suddenly changing ourselves and immediately walking into a situation as someone completely different. There’s an element of ourselves that we have to bring to every situation, which is what undercover officers have to do in real life. But at the same time, we still get to change enough that, say, if you’re an introverted person in real life but you have to play the crazy party-girl, then that’s what you have to do. So it’s fun to be able to change it up every week and to play this part.

That sounds very fun for the viewing audience, as well! So: what can you tell us about your character Khali Bhatt?

Khali is sort of the tech genius; she’s tech support for the group. She’s young, she’s pretty hip and has this side of her where she’s very outgoing. But she was raised in a fairly traditional Indian family. That’s what’s most interesting about Khali: in some ways when she goes back home, she’s undercover–she’s not really herself and she has to play a more traditional role. But when she’s out in the real world with her coworkers she gets to kind of relax, let loose, and be the person that she truly is. A little bit more wild, a little bit more free-spirited.

Also, in the press release, they describe your character as “honest.” That immediately piqued my interest because she’s part of a group of con artists, in a way. How do you reconcile playing an honest character that has this inherently dishonest job?

That’s a very good question. Yes, she’s considered the truth-teller. She’s early twenties and she has this sort of bold way about her where she’s able to kind of be insensitive, whereas other people might find a more diplomatic way of going about saying it or doing it. She’s kind of an “ask before you think” kind of character in some ways. So I see that as where her honesty comes from. That sort of freedom that you have when you’re early twenties, that freedom to do and say what you think without really thinking about it first.

You’re best known to TV fans as the fan-favourite character Kate Freelander on Sanctuary. Although Played is a completely different series from Sanctuary by nature, is there anything that Kate and Khali have in common? Or has this been a complete departure for you?

There are definitely some similarities to them. I think it comes back to that honesty: Kate was a very honest character, despite being also somewhat of a con artist (laughs). She was bold in what she said and the things that she did, that’s true for both characters.

Are those traits something that you yourself have in common with these characters?

I definitely think I’m honest but I don’t know if I’m as bold as they are. I go, probably, the more polite route (laughs). If you know me, the people closest to me would tell you that I can be fairly blunt and bold with the things that I say and do but I’m definitely not as quick to share that part of myself. I’d rather be more polite about it. So I guess in a way, Khali and Kate tend more to a deeper part of myself that I don’t always like to show people, because on the surface I can seem opposite to them, if that makes sense.

And that probably makes it even more fun to play them while you’re on set.

Yeah, for sure!

With Played you’re a part of an ensemble cast of very talented actors. Can you tell us a bit about how the team is coming together, working with the team so far and how it’s going?

It’s definitely raised the bar, because they are so talented. The scripts are amazing and ambitious in the sense that we have a certain amount of time to get everything that we have to fit in an episode and as a result you always have to be on your A-game. You have to know exactly what you need to do as an actor. Sometimes you don’t necessarily have the ability to shoot take after take after take. I’m working with a bunch of total pros. Everybody has been really great, they’ve all been bringing their A-game every day, every episode. They’re all creating characters that I find very interesting. We’re in the fourth episode, that’s where we’re shooting, and we’re really beginning to see this great development of the characters. From the pilot, on the page, they’re wonderfully written but now by this episode we’re starting to see them really come to life and, you know, how they’re sort of shifting and growing. I couldn’t be happier with the group of actors that I’m with. Every single person is so well-cast and brings something so specific and neat to the character, it’s really exciting.

That sounds great. To leave us off: what can you tell us and our readers in order to whet our appetites for Played? What can we look forward to from these episodes that you’re filming?

What’s great about the episodes is that there’s something different in each one. Because we’re working with an ensemble cast, each cast member will appeal to different people and each cast member and each character has their own episode where they really get to shine. You really get to see an arc for each person, where they each come face to face with their deepest, darkest secrets and the thing that most challenges them. Which is really cool, to be able to have that. It lets you kind of dig deeper with each character. So I think audiences will really connect more and more as the season progresses–we’ll get to learn what the characters are going through and we’ll see them in a different light by the end of the season. Does that make sense? (laughs)

Absolutely, you’re saying the show rewards the viewers for tuning in every week, that’s fantastic.

Yes, exactly. You’ll have a favourite character and you’ll get to see the episode where they really get to shine and where they’re face to face with their biggest challenge. So it’s fun because each character really has that opportunity.

That sounds great — I really appreciate you taking the time to chat and I’m sure our readers do too. 

Great, thanks so much.

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Industry Update – The cast and creator of Satisfaction

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As Satisfaction was one of the two Canadian shows participating in the 2013 CTV Upfront Press Conference, I had the opportunity to speak to castmembers Luke Macfarlane, Leah Renee, and Ryan Belleville, plus showrunner/creator Tim McAuliffe:

How will Satisfaction differ from CTV’s previous series, Hiccups and Dan for Mayor?

Tim McAuliffe: Well, it’s funny. I wrote for Dan for Mayor for a brief period of time, and briefly for Corner Gas as well. We actually have Gabrielle Miller on our show. I think [Satisfaction] is different in that it’s skewing a little younger … This is a story about people living in the city, in their twenties.

How worried are you about ratings? Dan for Mayor and Hiccups both debuted to an audience of around two million viewers; the audiences dwindled to around half a million by the end of their second seasons.

McAuliffe: Worry about the ratings? Yeah, I’m super worried.

Leah Renee: I always worry about the ratings!

Ryan Belleville: Well, the sign of a good showrunner is, of course, he’s always worried about the ratings. He’s also worried about the paint fillers being used on his sets; he’s worried about new scripts. [McAuliffe] has non-stop worries going on. I mean, there’s really nothing you can do. It’s a really funny show, and I think people will like it. It’s nice to have an urban comedy about young people in Canada. It’s a really refreshing thing, I found. We just have to hope people will agree with us.

Renee: We all just got to see some cuts of the show. … We all saw two episodes just the other day and they were really funny, you guys. They were really funny. I was laughing out loud, and I was like, “I was a part of this, and I’m laughing!” I think we’re all a little worried, but at the same time, I’m not, really. I feel like [Satisfaction‘s] going to be good.

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The trend: Reality Show X Canada

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By Graeme Stewart

Shaw Media’s 2013/14 slates includes a robust line-up of both new and original Canadian series for the upcoming broadcast year. What’s become abundantly clear over the last few years is that Canadian television is embracing reality content in a big way. Obvious renewals for shows like Big Brother Canada and Top Chef Canada rounded out a list that also included several auction shows and some new scripted series. Bell has ordered Masterchef Canada. While it’s great to see a healthy amount of Canadian shows getting the green light, I can’t help feeling a little underwhelmed by the orders.

The slew of reality television set to hit Canadian airwaves this year is understandable – the selected shows are low-cost, high-reward concepts that can easily translate across international borders. The problem, however, is that this focus takes us away from where we should be as a country that prides itself on our culture. Furthermore, it compounds the Canadian television industry’s reputation as significantly risk-averse.

The merits of reality television have been debated in the North American media since Survivor, itself a Swedish import, debuted in 1997 on CBS. I can’t argue against the economic choice to develop a higher reality slate. Import or otherwise these programs have a proven ability to draw in audiences, advertising, and are cheaply produced. I can also see the narrative value inherent in a cross country collection of characters of ranging absurdity. It can be a pleasure to step out of your respective province and watch a young Montreal chef competing against the best of the country in Top Chef Canada, or a Calgary cowboy playing Godfather against a Nova Scotian schoolteacher and Toronto drag-queen in Big Brother Canada. The entertainment value is high, and we’ve proven that Canadian reality TV can be just as exciting and engaging as the content produced by our Southern neighbours.

These shows have proven themselves as guaranteed hits time and time again across all borders. The problem, then, lies in the lack of new ideas and concepts we see from our Canadian broadcasters. With international co-productions like Orphan Black and Vikings adding a heightened level of production value, writing, and acting to Canadian line-ups, is there anyone seriously asking for Storage Wars Canada?

Every show can’t be a hit. The bottled lightning combination of Orphan Black‘s international success, high-concept creativity, and critical acclaim, for instance, is rare and difficult to match. Shows like this should inspire confidence and the willingness to pursue a raised bar. They should stand in stark defiance of the easy to produce reality imports that are, at their worst, now serving as crutches to round out Canadian content.

The Golden Age of Television has largely bypassed the Canadian market, but unnecessarily so. I hope that with next year’s network slates the bar is raised a little higher than a collection of low-concept reality shows, and that the original content we can look forward to is slightly elevated beyond hospital, legal, and cop procedurals. It’s time we take ownership of the storytelling potential our nation holds in great reserves, and to translate that potential into shows that demand attention and can join the upper echelon of television production.

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Industry Update – Rogers Media/City 2013 Upfront

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Rogers Media’s 2013 upfront was held June 4, 2013, at the Metro Toronto Convention Centre. Before the upfront, Rogers announced the renewal of Seed, as well as the rescheduling of Package Deal to fall 2013. This stuff you already know, so I won’t waste time typing about it.

The interviews started shortly after 2:30 PM ET. Surprisingly, five of the seven interview segments focused on Canadian shows. Seed and Package Deal featured cast interviews, though a majority of Seed‘s questions were answered by executive producer Mark Farrell and star Adam Korson. Eva Longoria was on hand for Mother Up! Also interviewed were the cast of OLN/City’s Storage Wars Canada, and Ray Zahab from OLN/City’s The Project: Guatemala. Rounding out the bill were James Wolk from The Crazy Ones, and Lauren Ash from Super Fun Night.

The Score, which joined the Sportsnet family as soon as the CRTC approved Rogers’ takeover of the channel, will become Sportsnet 360 on July 1. This doesn’t mean The Score is dead – the website and mobile businesses Score Digital owns still carry The Score’s lineage, and name.

Rogers promised Sportsnet 360 would retain The Score’s personality, and I hope Sportsnet 360 makes the cut. I just hope it doesn’t become a clearinghouse for Sportsnet 590 The Fan simulcasts. It’s nice Tim Micallef and Sid Seixeiro are back on The Score/Sportsnet 360, but the Tim and Sid simulcast is there for three hours of easy weekday CanCon.

The Rogers upfront presentation was typical of its kind: a rundown of Rogers’ properties, with a visible countdown displaying the number of minutes until free bar access. The most genuine surprise was two performances by Tegan and Sara, in service of City obtaining Canadian broadcast rights to the Grammy Awards. Professional wrestler Ron Killings (d/b/a WWE’s R-Truth) and IZOD IndyCar driver James Hinchcliffe shepherded The Score into the Sportsnet family.

Rogers was especially interested in Mother Up!, showing unfinished and behind-the-scenes clips of the show during the upfront presentation. The clips were rough – backgrounds weren’t cleaned up and painted in. It struck me as odd to showcase Mother Up! in beta mode, yet it’s obvious Rogers has high hopes for it. Package Deal clips were also screened, while Breakfast Television formally announced a Montreal edition with a “surprising” host.

One notable thing about City’s 2013-14 fall schedule is the return of Great Canadian Movies, which will air Saturday at 9:00 PM ET, after an “encore presentation” of The Project: Guatemala. The Canadian movie block was temporarily retired in 2012-13, in favour of The Bachelor Canada, Less Than Kind and Murdoch Mysteries “encores”.

The Rogers upfront promoted OMNI’s Bollywood Star. Mohawk Girls, an APTN/OMNI series, wasn’t mentioned. It was a curious omission. CityNews Channel’s immediate termination last week was also ignored. Granted, upfronts deal in “happy news” moments, and don’t focus on the failures. I would have liked to see Rogers mention CityNews Channel; it was an integral part of Rogers’ 2011 upfront.

To promote Storage Wars Canada during the free bar, advertisers were handed “Rogers Cash”. The completion of activities – e.g., having a caricature drawn at the Mother Up! booth, playing a racing simulation and/or meeting R-Truth at the Sportsnet 360 booth, getting a Cityline beauty makeover – allowed participants to earn more “Rogers Cash”. It was a departure from standard protocol – Canadian television upfronts don’t usually have a gaming element. This was mainly for the advertisers’ amusement, but it was effective enough promotion.

In the end, Rogers Media had a relatively modest 2013 upfront, even though it was more lavish than the 2012 upfront. While not much actual news was offered, at least Rogers didn’t oversell itself. The countdown-to-free-bar display was a bit much, though.

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