The Hardy Boys’ Chris Pozzebon previews spooky Season 2

March 31, 2022 Greg David

The Hardy Boys are back and spookier than ever.

The series, which returns Monday at 8 p.m. ET/PT on YTV, leans into the supernatural for its sophomore season. Picking up six months after the events of Season 1, the 10 episodes follow Frank (Rohan Campbell) and Joe Hardy (Alexander Elliot) as they investigate a missing classmate and the odd circumstances surrounding it. Before long, Frank, Joe, Callie (Keana Lyn), Chet (Adam Swain), Phil (Cristian Perri) and Biff (Riley O’Donnell) are plunged into a case where no one can be trusted.

We spoke to Chris Pozzebon—who joined The Hardy Boys for its second season as co-showrunner and head writer—about what fans can expect.

This is your first season on The Hardy Boys. How did you end up on the show?
Chris Pozzebon: They were looking for a head writer and co-showrunner. I had just moved back to Canada from Los Angeles when the pandemic was kind of ramping up and this kind of came about. And I guess it was a right fit for everybody.

It was pretty simple. I was available and interested, and they liked me. And I was able to pitch out a version of Season 2 that I think everybody responded to and that we all collaborated on with the networks. It was very fortuitous for me just to be in the conversation because I was such a huge fan of the books as a kid and just The Hardy Boys brand in general. So it was a very cool thing to start doing when a global pandemic hit.

What else excited you about the project?
CP: I had been working on a show that I loved, Blindspot for NBC, and that show was massive. And you’re working with these FBI agents who are like these big adult heroes. The thing that Blindspot didn’t have was that element of magic, actual magic. I mean, the show was magic on its own, but when I found out that The Hardy Boys had a supernatural element to it that wasn’t in the books, I was like, ‘Oh, well, that’s really interesting to me.’ The Hardy Boy‘s brand was always mystery and adventure.

At first, seemingly, part of the mystery was always debunked. Right? That ghost howling in the wood was always like, oh, it was an owl. And it was screeching because bank robbers were out there. They figure it out.

What was appealing about this version of the show was that it actually could be a ghost in the woods this time. Season 1 was a slow burn towards that reveal. But once we established that, I was really excited. Just kind of going full force into the possibility of the supernatural, even if some things may not be what they seem.

On Monday’s return, Frank experiences dreams and visions. Was that something hammered out in the writer’s room organically?
CP: It was part of the big Season 2 pitch. It was looking at where we ended last season and thinking about how to lean into that magic and mythology and the eye relic that they find as a central part of the show. It was about still keeping that mystery and that magic connected personally to our characters, not just starting fresh with a new adventure. It’s always with an eye towards the past and the backstory.

But at the same time, we did want to build in an actual new mystery. It’s not just the visions that Frank’s having and the supernatural stuff that stems from Season 1 that is going to be the throughline. There is a brand new mystery afoot.

I mentioned this to co-showrunner Jason Stone last year when we chatted. I love the 80s setting and all that entails.
CP: That’s kind of the appeal for the people making the show too, is that you get to include these little nods to your own youth and you can separate yourself from the technology today and the way people would solve history today and focus on other avenues to solve a mystery. And it allows being in that time and helps our young folks and the heroes of the show pursue actual clues that aren’t just punched away on their cell phones.

In Episode 1, a fellow student goes missing. By the end, there are teases about the eye, as well as something going on in an abandoned mine. Is that all part of the A-story this season?
CP: Everything is wrapped into each other. What’s going on with Dennis is the main focus. What’s going on with the eye plays into the main focus. Both of those things are kind of just the beginning. The story is going to take twists and turns that we don’t even allude to in Episode 1.

That said, those are the through lines and it is all deeply connected. And one of the things that we really wanted to do was just start building out the world. We are introduced to some shady characters and some people we can’t trust, maybe who are closer to us. That was just something that we felt we could push a little further in the second season.

Who else did you have in the writers’ room with you aside from yourself and Jason?
CP: It was myself, Ramona Barckert, Laura Seaton, Madeleine Lambur, Sabrina Sherif, Heather Taylor, Nile Seguin and Michael Hanley.

What is your strength in the writing room?
CP: I think finding a way to make an absolutely bonkers idea work would be my strength. You got to be good at everything, but, I mean, no, one’s going to pitch a crazier idea than me. That’s both a blessing and a curse.

The Hardy Boys airs Mondays at 8 p.m. ET/PT on YTV.

Images courtesy of Corus Media.

Bellevue, Bomb Girls, Coroner, Industry News

Cineflix Media acquires Back Alley Films and its library of content IP

March 31, 2022 Greg David

From a media release:

Cineflix Media Inc. has announced the acquisition of Back Alley Film Productions Ltd., along with the company’s award-winning library of content IP. After a three-decade collaboration creating and producing internationally-acclaimed TV series for Canadian and American networks, Back Alley Films co-founders Adrienne Mitchell and Janis Lundman have decided to explore new opportunities.

Cineflix will absorb Back Alley Films’ operations and acquire its programming assets, including the company’s ownership interest in celebrated series Bellevue starring Oscar® award-winner Anna Paquin, WWII drama Bomb Girls, and the international award-winning Durham County.

The acquisition also includes Back Alley Films’ stake in global hit series Coroner—the highly-rated crime procedural’s fourth season launched on CBC in January. Back Alley Films and Muse Entertainment have co-produced the series with Cineflix Studios since 2019, and Cineflix Rights is the exclusive global distribution partner. A huge international success, Coroner airs in more than 150 territories on networks and platforms including The CW Network (US), NBCUniversal International Networks, Sky Witness (UK), Globo (Brazil), and Nine Network (Australia).

“It has been such a pleasure to collaborate with Janis and Adrienne over the past 20 years as they grew Back Alley Films. I’m such a huge fan of their work that we jumped at the opportunity to acquire the company’s IP and also to continue to support them in any new projects or endeavors,” said Peter Emerson, President, Cineflix Media.

A visionary producer with a track record for delivering award-winning dramatic content, Lundman was the recipient of the prestigious Excellence in Production Award from WIFT Toronto and currently serves as Chair of the National Cultural Human Resources Council (CHRC). Lundman will put her 30+ years of industry experience to work as she transitions to her new role as a consultant.

“I’ve been extremely fortunate to work with amazing creatives and network executives over the past three decades and I’m incredibly proud of all the shows Back Alley Films has produced. I can’t think of a better company than Cineflix to take the reins and shepherd in new possibilities for the Back Alley IP — there are plenty of exciting opportunities ahead for us all,” said Janis Lundman

Mitchell is an award-winning film and television producer and director/showrunner who has been creating auteur-driven drama series for over the last 30 years. She received the 2017 Nell Shipman Award for directorial achievement and for advancing gender equity in the entertainment industry as well as the prestigious Excellence in Production Award from WIFT Toronto. Mitchell has launched BentFrame Film & TV, a new production company that will develop and produce ambitious, provocative, and diverse female-driven dramatic series and feature films.

“I am incredibly proud of the body of work that came from my partnership with Janis Lundman under the Back Alley Films banner. Our goals were to push creative boundaries and tell diverse and authentic stories, making for thought-provoking and compelling film and television. I am thrilled that Cineflix Media, an industry powerhouse, has acquired our library and I feel they are the perfect fit to represent our stories for the global marketplace,” said Adrienne Mitchell.

Back Alley Films and BentFrame Film & TV are represented by Great North Artists Management Inc.

Industry News, Reality, Lifestyle & Documentary

Bell Media teams up with all-Black executive production team to develop Canada’s first, Black-focused, bilingual anthology series, Festivale

March 29, 2022 Greg David

From a media release:

Bell Media and francophone executive producers Marie Ka and Richard Jean-Baptiste, and anglophone executive producers, Damon D’Oliveira and Clement Virgo, have teamed up to develop FESTIVALE, Canada’s first bilingual anthology series, by and about, Black Canadians. Produced for Bell Media’s Crave, FESTIVALE is a collaboration between Crave’s French and English development teams, and an answer to the lack of Black francophone stories on mainstream television.

This breakthrough series also serves as a pre-development incubator administered by the BSO, supporting creative teams who have not had the opportunity to produce content for a large network. This initiative aligns with BSO’s talent development mandate to build bridges between broadcasters and content creators; connect participants with resources; and foster relationships to cultivate strong pipelines of talent.

“FESTIVALE is a groundbreaking experience where Black Canadian writers, both French and English, get the chance to finally work together on the same project,” said executive producers, Marie Ka, Richard Jean-Baptiste, Damon D’Oliveira and Clement Virgo. “We can’t thank Bell Media enough for bridging the language gap, and lending their support to this timely creative journey. Our hope is that this project will be the starting point for future collaborations with Bell Media, for all our participants.”

“We are thrilled to provide support to this important initiative, and applaud Bell Media and Crave for its openness to engage in the work to accelerate system change,” says Joan Jenkinson, Executive Director, BSO. “The collaboration among this array of talented Black writers and producers is wonderful to see, and we look forward to the outcome.”

“As Bell Media continues to work on creating equitable creative space and opportunities, collaborations like this are vital to our collective success,” said Karine Moses, Senior Vice President, Content Development & News, Bell Media. “Thank you to this visionary executive production team, and the BSO, for bringing FESTIVALE to Bell Media, and partnering with us to help develop and champion incredible Black talent.”

The Incubator will also serve as a hybrid story room for writers to develop episodic ideas, with the assistance and experience of Showrunner, Adam Pettle. By the end of the process, the writing team will have completed six outlines for the proposed anthology series, and have the opportunity to pitch it to Bell Media network executives.

Along with Pettle, the writing room will be staffed with Black francophone writers, Kimberley Ann Surin, Josiane Blanc, along with writing team Kadidja Haïdara and Seydou Junior Haïdara; and three Black anglophone writers, Adeline Bird, Andrew Burrows Trotman, and Anika Jarrett.

Four Black francophone producers, Maeva Montemiglio, Malcom Odd, Sabrina Roc and Jephte Bastien; and two Black anglophone producers Mansa Chintoh and Jose Holder, are also involved in the incubator.

Comprised of six stand-alone episodes, FESTIVALE focuses on authentic new voices that evoke the Black Canadian experience. Set against the backdrop of a blistering Montréal heatwave, the series explores themes of appropriation, identity, belonging, and the transcendent nature of love, in all its many forms. Each episode follows complex characters grappling with situations that reveal their humanity, anchored through their journeys that cut through stereotypes, and resonate with authenticity. Episodes, whether in English or French, may also feature multilingual dialogue.

Now in pre-development, the anthology series is financed by Bell Media, with development funding from the Canadian Media Fund’s Pilot Project Racialized Communities (PPRC) fund. Incubator funding is supported by the BSO-TD Bank Mentorship Program.

Industry News, Reality, Lifestyle & Documentary

All-new Crave original series, We’re All Gonna Die (even Jay Baruchel), premieres April 30

March 28, 2022 Greg David

From a media release:

Death is certain. What isn’t certain is how — or if — the human species will perish entirely, and what humanity will do to cope or even thrive in the face of catastrophic threats. In an attempt to explore this complex existential crisis, Crave announced today that its new original series WE’RE ALL GONNA DIE (EVEN JAY BARUCHEL) is available for streaming on Crave on Saturday, April 30 in English and French. Hosted by Canadian actor, director, and author Jay Baruchel (Goon, This Is The End), the half-hour, six-part series is a smart, tongue-in-cheek look at the end of the world, which draws together science, psychology, pop culture, and philosophy.

A teaser trailer for WE’RE ALL GONNA DIE debuted during last night’s 94th OSCARS® broadcast coverage on CTV. Also revealed today are first-look images from the new series.

In each episode, Baruchel meets his fascination with the apocalypse head-on, as he explores, from a place of genuine curiosity and wonder, various ways humanity could possibly meet its doom including; an asteroid Armageddon; a nuclear catastrophe; a pandemic pandemonium; an alien invasion; a volcanic cataclysm; and a climate apocalypse. Featuring some of the top scientists, activists, and experts in their respective fields, and highlighting the cutting-edge science, ideas, and technological innovations at the forefront of the defense of humanity, the series is suffused with the ultimate hope that humankind can come together to make the world a better place.

Episodic synopses for this ‘killer’ series are outlined below:

Episode 1 – Asteroid Armageddon
Could an asteroid destroy the world? Jay meets with experts including the Planetary Defense Officer at NASA to find out if “we’re all gonna die”.

Episode 2 – Nuclear Catastrophe
Jay learns that, far from being a relic of the Cold War, nuclear Armageddon is as big a threat as ever.

Episode 3 – Pandemic Pandemonium
During the COVID-19 pandemic, Jay tackles the existential threat of disease, while considering the added danger of human-made viruses.

Episode 4 – Alien Invasion
Jay believes that aliens are out there, watching us at the very least. But do they pose a threat? (Maybe!)

Episode 5 – Volcanic Cataclysm
Jay learns about a surprising threat. Supervolcanoes are often overlooked, but when they erupt, they will change the Earth’s climate.

Episode 6 – Climate Apocalypse
Jay explores the emergency that is climate change, and considers what we can do, as a species, to save ourselves from… ourselves.

WE’RE ALL GONNA DIE is produced by 90th Parallel Productions in association with Bell Media’s Crave with the participation of the Canada Media Fund (CMF), the Government of Canada – Canadian Film or Video Production Tax Credit Program and Ontario Creates – Tax Credit Program. Written and Directed by Victoria Lean. Produced by Stuart Henderson, Victoria Lean, and Ben Travers. Jay Baruchel, Stuart Henderson, and Gordon Henderson are Executive Producers.

Featured, Podcast

TV, Eh? Podcast Episode 243: CSAs, Part 2

March 27, 2022 Greg David

This week, Greg and Amy go through debuts and returns on the Canadian TV calendar, Marissa Stapley’s novel heading to television and the launch of Greater Hood Productions.

Then, the duo discusses the 2022 Canadian Screen Award nominees for Best Actor, Drama; Best Actress, Drama; Best Actor, Comedy; and Best Actress, Comedy.

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