Everything about Remedy, eh?

Motive, Remedy and Ice Pilots NWT capture Leo Awards

From Francois Marchand of the Vancouver Sun:

Motive, the “whydunnit” television show where detectives piece together the storyline that links a killer and his victim, walked away with top honours in the Dramatic Series category, landing the title of Best Dramatic Series, Best Direction (David Frazee), Best Screenwriting (Katherine Collins), and Best Lead Performance (Louis Ferreira) Sunday night at a gala held at the Fairmont Hotel Vancouver.

The series was nominated for 21 awards in total. It had already received a Best Picture Editing nod during the technical awards handed out on June 6. Continue reading.


Comments and queries for the week of May 29

Remedy showrunner urges support of Canadian TV

I am a native Californian, so though I cannot speak for all, most, or perhaps even many U.S. viewers, I can speak for my immediate circle of somewhat discerning friends … we LOVE Canadian programs!

That is, when we can find them, bleed them out of the otherwise amorphous glut of American shows, or game the web so that the Canadian shows are not blocked to us.

I have no idea who is the thinker behind the idea that U.S. audiences need to think that a show takes place south of the U.S./Canadian border in order to gain a viewership. What a show needs is to be worth a damn! BBC and other foreign programming does quite OK.

My first real hook, Flashpoint, eventually went open with its location, which anyone paying attention already knew long before, yet remains one of the best police procedurals ever shown on U.S. TV. Thanks to Flashpoint, I discovered the cast and began to backtrack their work as I am able, so now my default DVR programming includes anything with Enrico Colantoni, Hugh Dillon, etc. If more Canadian shows were allowed to come into the world of U.S. streaming or broadcast as Canadian shows they might actually do BETTER than they do when trapped as one option of many among what most of us have little time to wade through on the daily dose of mediocre regular U.S. fare. —Artemio

I don’t support any Canadian shows that cater to Americans. Why can’t we show the flag, or wear emblems that let other countries know it is Canadian? Orphan Black and Schitt’s Creek are a disgrace to this nation. We have awesome Canadian programming that is shown worldwide yet we don’t promote Canada, and I agree with the CRTC: If you cannot say it is Canadian, we will not fund it. Stop trying to impress America by being neutral in our shows. It is Canadian and be proud of it. Murdoch rules, and it is in 125 countries around the world, and only on rare and selected PBS stations in the U.S., who cares about them.? Why are we so afraid about what America thinks? —Jeanne

I thought that Season 2 of Remedy was much improved over the first season. I got invested in the characters, and liked them all. I was irritated by Griffin’s behaviour, but realised that it was realistic. I am really sorry that there won’t be a third season, I’m sure it would have been even better. —Lily

And the MasterChef Canada winner is…

My wife and I love the show. We live in the States, where we can’t get MasterChef Canada, so I stream it. David was a solid choice and my wife’s favourite from the get-go. We eagerly await Season 3 and will fill the time watching the inferior American version which just started. —Tom

True Love’s Kiss on Orphan Black

Oh yeah, this was the top episode of the season so far. Agree with you on finally liking Paul. I wish I could find the soundtrack for the last five minutes of the episode.  Also enjoyed the new side of Felix and surprisingly felt bad for Rachel. Towards the end I think Felix felt he went too far and backed off partially out of shame.

Never fully trusted Delphine and I’m glad I didn’t, missing Cosima is no excuse for using resources to stalk her. You creep on her Facebook if you want but that’s it! She’s really become the new Rachel: drinking while sadly looking at video of someone you love whose not in your life anymore.

Alison did talk briefly with Cosima about her health last week. Alison wouldn’t be useful in fighting the military she doesn’t have the skills our resources Dyad and Mrs. S do. She’s the most “boxed-in” narrative wise with a table family and two-not important kids. A housewife isn’t special to Dyad and her personal life makes her hard to disappear if Castor or anyone tried. But they cannot cut out the family angle as suburbia is Alison’s domain and at the core of her character. Next week looks to have a lot to do with the Hendrixes so we’ll see. —Dan

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


TV, eh? podcast episode 183 – Greg est perdu

Greg is on the injury list with a bad cold, so Anthony and Diane cover the Great Canadian TV Playoffs alone. It’s Durham County of the 2000s versus SCTV of the 1970s in the battle for the cup? Who will prevail, and will Anthony have anything to say about it first?

We also talk about cancellations (bye Remedy), renewals (hello again Bitten), returning shows (Amazing Race Canada), the deluge of award shows and other Canadian TV news.

Want to contribute to the discussion? Post links and discussion topics on our Reddit page.

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

Want to become a Patron of the Podcast? We’ve got a Patreon page where you can donate a small amount per podcast and get a sneak peek of each release.


Remedy showrunner urges support of Canadian TV

It was the news Remedy fans had been dreading. After two seasons, Global announced it was pulling the plug on its medical drama.

And while the show’s fans, cast and crew took to Twitter to vent frustrations and/or say goodbye, showrunner Greg Spottiswood had a different message on Monday morning. He took to social media to champion Canadian TV shows and urge people to tune in and talk them up with friends.



Will you watch more Canadian TV because of Greg’s message? Comment below or via our Twitter account @tv_eh.





Interview: Greg Spottiswood reflects on Remedy’s second (and final) season

This interview with Remedy showrunner Greg Spottiswood was supposed to be a recap of the show’s second season. A look back at the Connor clan’s struggles and a peek forward to what was to come.

Unfortunately, our chat serves more as an epitaph: Global cancelled Remedy the day after we spoke. Here’s what Spottiswood had to say about Griffin’s addiction story and why Sandy ended up being hit by a truck.

At first I wanted Griffin to get past his addiction and move on. But after Dillon Casey touched base with me, I realized Griff’s story is like real life, and there are no easy answers.
Greg Spottiswood: Dillon is very protective of that character. What we aspire to do is make the audience feel towards Griffin the way his family felt. They loved him, they cared about him and were rooting for him but at a certain point they kind of had enough of him. When we decided to go down this road, I told the network and I told [executive producer] Bernie Zukerman that if we were going to do a story about addiction that we would do it as accurately as a television show can, which is never fully accurate. We were going to talk to consultants and define it not as a flaw in this person’s character. A lot of stories about addiction on television are very much individual journeys and while Griffin had a distinct path this season, really the Trojan horse of it is to define the addiction as a family disease and to look at what happens to a family and how their feelings can be corrupted or warped when dealing with addiction. That was really our big project. The real question was, can we get the audience back? He really doesn’t hit bottom until the finale when Sandy tells him to leave the room. He doesn’t have one ally in his family. I feel like we accomplished what we set out to do.


By the end of the finale, Griffin was headed to rehab with Frank, PJ and Bruno giving him a ride, and Sandy was OK after that horrible car accident.
Sandy being hit by the truck was a fairly late change to the script. Originally, the design was that Griffin was either going to OD, or something else that was terrible would happen. We had been working on the script—Greg Nelson wrote it—and I came in one day and said, ‘It’s not Griffin, it’s Sandy. Bottom can’t be Griffin hurting himself, bottom has to be Griffin hurting the one person in the family who has never let him down and who he’s closest to.’ And people were uncomfortable in the writers’ room. ‘Really? You’re gonna hit Sandy with a truck?’ ‘I know it’s the right thing to do.’ Everybody got on board. That’s the interesting thing about television. You have this plan and everybody has signed on and then as a showrunner you’re in the shower or driving to work and you realize, ‘No, we’ve made a mistake.’

It was interesting, and effective, to not show the actual accident, but just Sandy being brought into the ER.
There were some interesting conversations about that. Would we show the headlights? Did we want to have a horn honk? And I said, ‘Some people will see it coming, some people will hope it’s not coming, but if we do it right …’ We put Zoe in the ER because we wanted the audience to think she saw Griff so that we could keep the misdirect going just a little longer.

Griffin’s journey as a rough one. Did you sit down and talk to Dillon Casey about it beforehand and give him any advice?
What we talked about at the beginning of the season was that he’d have to take really good care of himself because it was going to get uncomfortable. He was going to go to some dark places and be unsympathetic, which for a lot of actors is very hard to do especially on a network television show. He was embracing it but I told him he’d have to take care of his health because he was playing a very unhealthy guy. He took that to heart and approached the whole season with a great commitment and discipline and desire to understand what this guy was going through.


Another plot point I really enjoyed was bringing Allen down into the ER and seeing him as a doctor and inspiration to others. Had that been in the works since Season 1?
No. By the end of the first season, I went to Bernie and the network and said, ‘I don’t think we’re using everything that Rico has to offer as an actor well enough in Allen’s current role.’ I pitched the idea of moving him down to the ER and Bernie embraced it right away, but there was a certain skepticism at one point from the network. I felt like we had this great actor in Rico with great comic chops, great dramatic chops and because of Flashpoint he’s got this father figure position that we exploit. I said, ‘I just want to make him be the underdog.’ I’m really proud of everyone this season, especially of Rico because he relished it. When I went and told him what we were going to do, he blinked once and said, ‘OK, here we go.’

Sara Canning and Sarah Allen were fantastic this season too. Speaking of comic chops, they both have them.
Sara Canning and Sarah Allen as individuals are really stellar human beings and incredibly talented actors. We did chemistry reads when we were casting the show, so we knew that there was something there, but I don’t think any of us would have predicted how well those two have worked together, how close they would become as friends. They have a genuine affection for each other. They’re also very generous actors too. They listen to one another and are sensitive to each other’s needs and trust the writing, and you get this kind of magic.

Do you have a message for the Remedy folks? Comment below or via our Twitter account at @tv_eh.