From Sadaf Ahsan of The Canadian Press:
Link: Indigenous film/TV funding needs Indigenous-led application, review process: report
A report examining how best to distribute film and television funding to Indigenous creators stresses the need for stronger application guidelines, a review process conducted by Indigenous Peoples and the potential for financial consequences or remedial action when false claims to Indigeneity are made. Continue reading.
From a media release:
CBC and HBO Max have renewed SORT OF for a second season, it was announced today. Created by Bilal Baig (Acha Bacha) and Fab Filippo (Save Me), the critically acclaimed CBC and Max Original comedy debuted on HBO Max in November 2021 following its Canadian premiere on CBC Gem in October 2021. The series was an official selection of the 2021 Toronto International Film Festival and made The Hollywood Reporter, The Globe and Mail and Vanity Fair’s Best TV Shows of 2021 lists. SORT OF also leads this year’s Canadian Screen Award nominations with 13 nods, including Best Comedy Series.
“We are so thrilled that we are able to dive back into the worlds of SORT OF, and to keep exploring the evolution of all our characters (including some new ones!) as they continue to investigate who they are in the world as friends, family members, lovers and human beings,” said Bilal Baig, co-creator, showrunner, executive producer and lead actor.
“SORT OF speaks to the complexity of being human in the world with wit, warmth and an authentic sense of inclusivity, thanks to the distinct voices of Bilal and Fab,” said Sally Catto, General Manager, Entertainment, Factual & Sports, CBC. “SORT OF has struck such a powerful chord with audiences, and we are thrilled to work with HBO Max and Sienna Films on the next chapter of Sabi’s story.”
“Baig and Filippo’s honest and insightful storytelling is a lesson in unraveling conventional views of identity,” said Jeniffer Kim, SVP, International Originals, HBO Max. “We could not be more excited to partner with CBC and Sienna Films on another season of this very special show.”
“It’s been a wonderful experience to develop this show from the ground up with Bilal and Fab, and now to have the opportunity in Season 2 to dig even deeper,” said Jennifer Kawaja, executive producer, Sienna Films.
Called “funny, tender, and humane” by NPR, “the kind of representation everyone deserves” by Mashable, and “a small masterpiece of contemporary urban storytelling” by The Globe and Mail, SORT OF follows the journey of “Sabi Mehboob” (Baig), a gender fluid millennial who straddles various identities from sexy bartender at an LGBTQ bookstore/bar, to the youngest child in a large Pakistani family, to the de facto parent of a downtown hipster family. Sabi feels like they’re in transition in every aspect of their life, from gender to love to sexuality to family to career. A coming-of-age story, SORT OF exposes the labels we once poured ourselves into as no longer applicable…to anyone.
The series is created by Bilal Baig and Fab Filippo, who also serve as showrunners and executive producers, and produced with the participation of the Canada Media Fund. Sienna Films’ Jennifer Kawaja is also an executive producer on the series. SORT OF is distributed worldwide by Sphere Media. Abacus Media Rights handles sales outside of the United States and Latin America.
Link: ‘Popularity Papers’ Young Adult Book Series Scores TV Adaptation From Aircraft Pictures, WexWorks Media
Scrapbook-style book series “The Popularity Papers” is getting the TV treatment. Amy Ignatow’s award-winning middle-grade novels will be adapted for the screen by Corus Media-backed Aircraft Pictures, the Oscar-nominated producers behind “The Breadwinner,” and Emmy-nominated production company WexWorks Media. Continue reading.
I first met Alix Markman when we were both helping spread the word about the Toronto Screenwriting Conference. Since then, I’ve kept tabs on her career, which has included working as a story coordinator for the tween series The Next Step, script coordinator for the animated Go Away, Unicorn!, writer for the video game Gotham Knights and, most recently, executive story editor for Astrid & Lilly Save the World.
Airing Wednesdays at 10 p.m. Eastern on CTV Sci-Fi, Astrid & Lilly Save the World—about high school friends Astrid (Jana Morrison), Lilly (Samantha Aucoin), monsters and a portal to another dimension—is the perfect fit for Markman. With Wednesday’s new episode credited to her, we spoke to Alix about her career so far.
In your bio, you say there’s a fine line between horror and comedy and that’s exactly where you feel most at home. Did you grow up really liking humour and horror, like Buffy the Vampire Slayer?
Alix Markman: Very much so, I’ve always really been drawn to what I would term horror-adjacent. So think The Nightmare Before Christmas and Coraline and very much Buffy. Those types of things that really draw on the horror canon and are in a lot of ways, a love letter to the horror canon, but not traditional horror in and of themselves.
And then getting older, I was very drawn to things like Guillermo del Toro works and stuff like that. Again, very dark. Dark themes with almost a lighter access point.
At what point did you say, ‘OK, I want to do this for a living.’ Was there a light bulb moment?
AM: Sort of. It sounds deeply cliché, but I always wanted to be a writer. I knew from the time I knew what a job was that I wanted to be a writer. I didn’t know what type of writer. When I was quite young, I thought I would write books, I might be a novelist. And again, still in that sort of realm, growing up, I really loved fantasy and stuff, The Lord of the Rings, Harry Potter. I mean, I still love all these things.
And then when I was sort of a middle schooler, tween age, I got really into theatre and performing arts, so I thought I might be a playwright/performer. I kind of lost interest in performing, but never in the writing aspect. I was a theatre kid at the time when the movie musical was really making its comeback, Chicago and Dreamgirls and Rent and Hairspray.
I became very interested in what made a movie musical click. Why were some of these so successful, like Chicago? And why were some of these not quite as successful in their translation to the big screen? I went to the library, and it turns out there are no books about writing movie musicals—super rude—but there are tons of books about screenwriting. So I just picked up a bunch of screenwriting books and started reading about it. I really, really fell in love with the form. I just devoured these books and I started watching movies and doing breakdowns. I was like 14. I just completely fell in love with screenwriting as a craft. I thought I would primarily write films. And then, when I was about 15 or 16, my best friend sat me down. She told me, ‘OK, there’s this really weird show, but I absolutely love it. And I think if you give it a real shot, you’re going to love it too. We have to watch it. It’s called Buffy the Vampire Slayer.‘ She had the box set and we started watching it. That was my aha moment. I went, ‘Oh yeah. That, that is exactly what I want to do for the rest of my life.’
Writing a play or movie seems to be a solitary existence, as opposed to a TV show. Do you enjoy the collaborative aspect of writing TV?
AM: I love the collaborative aspect of it. Screenwriting, and writing for television in particular, has really circumvented that because you always have a team and if you are stuck on something, you can bring it to the room and say, ‘You know what? This scene worked on the board, but it’s just not working on the page. Let’s talk it out.’ And then in return, you get to be that person for other people. It’s really rewarding. And as much as we would all love to believe that we’re perfect writers, no, no, we’re not whatsoever. We all have our strengths and weaknesses.
A really good room will take that into account. And maybe one person really excels at dialogue. No matter what they can put it in these characters’ voices, and maybe one person really excels at structure, no matter what kind of story you’re trying to tell, they know exactly where each of the beats need to fall. And then maybe one person is really good at mythology. But in the best writer’s room, it develops into this sort of synergy that is just really, really rewarding to be a part of. And it makes you a better writer to work with better writers. I feel like that is very important. I think a lot of young writers are sometimes intimidated by the idea of working with other people.
You could read every screenwriting book in the world, you could take every screenwriting class available to you and nothing can mimic the experience of being in the room and collaborating with those other people.
You’re on Astrid & Lilly as an executive story editor. What does that title entail?
AM: In Canadian live-action, story editor is essentially synonymous with ‘writer.’ You’re part of a team, the writers’ room, where you collaborate with the other writers on the project to pitch ideas, break stories, and solve problems in order to support and ultimately execute the showrunner’s creative vision on the page. You also read every draft of each script and offer feedback in collaboration with the rest of the writers’ room to make each episode the best it can possibly be.
The show has gotten rave reviews in outlets like Time, particularly about its casting and diversity in front of and behind the camera.
AM: It’s been surreal. I feel like this show was tailor-made for me in a lab somewhere. I remember reading the pilot prior to my meeting with [co-creators] Noelle [Stehman] and Betsy [Van Stone] and just thinking, ‘God, what do I have to do to get this job?’
In that first meeting with Betsy and Noelle, they told me how important it was for them to have diversity, both in the cast and the crew and the creative. So to hear that from the beginning, I just knew I had to be a part of this. The Time magazine article in particular really blew me away. And of course, to see the comparisons to Buffy, which is such a monumental show for me as an artist and as a person, it’s truly been incredible.
Astrid & Lilly Save the World airs Wednesdays at 10 p.m. ET on CTV Sci-Fi Channel.
Featured image from Alix Markman. Astrid & Lilly image courtesy of Bell Media.
From Greg Harder of the Regina Leader-Post:
Link: Labour of love: Sabryn Rock’s latest acting job was a life-changing experience
“It was this interesting kind of synchronistic thing … having this huge life event of motherhood happen and then portraying somebody who all she wants is to be a mother.” Continue reading.
From Debra Yeo of the Toronto Star:
Link: CBC’s ‘The Porter’ sheds light on part of Canadian history with ‘energy,’ ‘sexiness’ and ‘fun’
If you want to know what CBC’s historical drama “The Porter” is about, there’s a lot to be gleaned from the television series’ opening minute and 10 seconds. Continue reading.
From Sadaf Ahsan of the Toronto Star:
Link: CBC’s ‘groundbreaking’ new drama series ‘The Porter’ is a story of Black ambition
When CBC’s “The Porter” debuts Monday, it will become one of the network’s largest Black-led television series, ringing in Black History Month in a “powerful” way, says Toronto star Ronnie Rowe Jr., who adds that he’s “honoured to be a part of history.” Continue reading.
From Heather M. of The Televixen:
Link: Previewing CBC’s The Porter with the creative team
A rich, wide-ranging story of Black Canadians during the 1920s, the series follows the story of the titular porters who work the railways and their extended community of family and friends in Montreal. Continue reading.
From Johanna Schneller of The Globe and Mail:
Link: The Porter is an overdue win for Black representation on Canadian TV
When the cast wall went up, everyone got a lump in their throats. Headshots of the actors playing the 100-odd characters in The Porter, an eight-part CBC series in partnership with BET. Row after row of faces. Ninety-five per cent of them Black. Continue reading.
From Eric Volmers of the Calgary Herald:
Link: The Porter takes a rare look at the injustices, triumphs of Canada’s Black Diaspora in the 1920s
In the new CBC series, The Porter, part of the action takes place in a lively night spot called Club Stardust. It’s a gathering place for many of the characters in the series, a hotspot in Montreal’s Black neighbourhood of St. Antoine in the roaring 1920s. Continue reading.
From Alicia Cox Thomson of Chatelaine:
Link: How CBC’s The Porter Made Me Reexamine My Own History
The Porter takes place in 1921 when train travel for wealthy white people was the height of luxury; train porters were always male and Black. Continue reading.
From Sherlyn Assam of Broadview:
Link: ‘The Porter’ showcases Black Canadian train workers’ historic fight for equality
CBC’s new original series The Porter tells the fascinating story of how Canadian train porters helped organize North America’s first Black labour union. Continue reading.
From Bill Brownstein of the Montreal Gazette:
Link: Brownstein: CBC-TV’s The Porter revisits the Black experience of 1920s Montreal
Some had just returned from fighting overseas for Canada during the First World War. Others were recent immigrants from the Caribbean. They had dreams of finding promising jobs and earning the respect of their fellow countrymen. Continue reading.
From Etan Vlessing of The Hollywood Reporter:
Link: ‘The Porter’ Creators Talk Black Representation and Canadian TV’s Culture Shift: “It’s a Pretty Powerful Moment”
Canada is making a giant step forward in representation with the civil rights drama The Porter, to air on the CBC and BET+ stateside. Continue reading.
From Carolyn Hinds of The Gate:
Link: Loren Lott and Aml Ameen talk The Porter on CBC
“Colorism has affected me all my life, you know? But it’s something that I always swept under the rug, just like I think the Black community has.” Continue reading.
From Norman Wilner of NOW Toronto:
Link: The Porter gives Black Canadian history a new look
Mostly, the show is about the path to social justice for its idealistic characters, which is paved with tragedies, betrayals and setbacks. But it makes room for Black joy, and that feels important. Continue reading.
From Bill Brioux of Brioux.tv:
Link: The Porter is a dazzling train ride 100 years into Canada’s past
Set 100 years ago in the early 1920s, the Canadian railway drama tells the story of train porters Junior Massey and Zeke Garrett (Ami Ameen and Ronnie Rowe Jr.) and their families as they strive against fierce resistance to form North America’s first Black labour union. Continue reading.
From Charles Trapunski of Brief Take:
Link: Interview: The cast and creators of The Porter
It was extremely resonant hearing from Marsha Greene, in particular, about the ways in which The Porter developed along the way, finding the correct track, so to speak. Continue reading.
From Heather M. of The Televixen:
Link: The Televixen chats with the women of The Porter
In the final part of my chat with The Porter team during the press day, series stars Mouna Traoré (Marlene), Loren Lott (Lucy), and Oluniké Adeliyi (Queenie) discuss working on the show. Continue reading.
