TV, eh? | What's up in Canadian television | Page 1306
TV,eh? What's up in Canadian television

Review: Lost Girl’s daddy issues

Oh my, daddy dearest. Going into the midseason break of its final season, Lost Girl was pulling no punches when it came to surprises, revealing Eric Roberts as Bo’s much-dreaded and quite secretive papa. And Tamsin just might be dead, thanks to yet another godly lightning bolt—and right after mentioning she was onto her last life, too.

That is without mentioning the end of days, or “End of Faes” that’s now underway, and the god of the underworld about to walk the earth again thanks to Bo’s magic box. Or the fact that nothing itself, born out of chaos, is walking the earth in the body of an emotional dead six-year old who thinks crushing people’s hearts is how you put them to sleep.

I suppose packing all these moments into a single, cliffhanger-filled episode is why the series was so slow off the start when it came to revealing the ancients and their plans. It’s going to be quite hard to take a step back from the family drama now, and knocking out a couple of final cases of the week as an ode to the series’ roots could, in hindsight, be a nice touch. It’s not like things are going to get as light as Bo and Kenzi eating ice cream in a tricked-out hotel room anytime soon—not with Hades on his way up the elevator and into the apocalypse.

Though it’s a bit hard to suss out who the real “good” ancients are—with Zee’s parting tip to Tamsin being a mild suggestion that the top god of religions past has, true to mythology at least, played a somewhat dubious game when it comes to saving the planet. It was certainly obvious that Zee’s terrified of the prospect of her brother surfacing—but how much of that is some kind of benevolent desire to stop the apocalypse and save Bo, and how much of that is saving her own skin given what sounds like a difficult relationship (to say the least) will have to remain a reveal for the next half.

But given how Zee was relishing the prospect of slicing a glowing umbilical-cord-cum-handprint off Bo with a rusty blade, her interests are coming across as mighty suspicious, while Bo’s so-called “evil” father emerged as the fairy godmother of the catfight between the two fashion-forward ladies. Of course, playing the good god/bad god game is probably naïve in a series that has touted its lead as unaligned—it’s just as likely both Hades and Zeus have skeletons in their closet and shining moments of altruism too, but it would be a nifty twist if Bo’s father wasn’t the demon the series has made him out to be.

It might go some way to ending Bo’s introspective self-loathing, and hopefully help her start to build constructive relationships with the people around her. It says something when the love of your life assumes your latest tryst talk is intended to reinforce a status quo where Bo plays the field and Lauren acts super-chill with her syringes. Bo may have been coming to the conclusion that it’s time to boldly step into commitment—even without the knowledge that a heartbroken Tamsin was potentially killed mid-Valkyrie tears—but there was a certain satisfaction to seeing Lauren leave Bo hanging for a bit. If meeting Hades is what it takes to get Bo to finally grow up and treat the people who love her with a degree more respect, then hey, I’m all for the god of the underworld joining the above-ground party. You can only blame daddy issues for so long, and the clock is officially ticking on the fate of the world.

Lost Girl returns later this year on Showcase.

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Tonight: Lost Girl, Life Story, Winnipeg Comedy Festival

Lost Girl, Showcase – “End of Faes”
Over the first half of the fifth and final season, Bo went to hell and back to try to save the people she loves, triggering an explosive chain of events. With powerful new Fae introduced, a new danger has emerged as the supernatural series’ mid-season finale airs Sunday, January 25 at 9pm ET/PT exclusively on Showcase. Season five saw Bo discover the surprising truth about her father and where she was born. As Bo and the gang investigated a Fae cult connected to a mysterious elevator crash and a series of gruesome murders, they found themselves in the eye of a storm and the midst of a blackout. Surprising connections have been forged and deep-seated secrets revealed, changing the lives of the Fae-mily irrevocably as they brace themselves for an enemy unlike any they’ve faced before.

Life Story, CBC – “Home”
To survive, animals need somewhere to live, a place that provides the necessities of life, shelter from the elements and a refuge from enemies.

Winnipeg Comedy Festival, CBC – “First World Problems”
Join the laughter featuring some of Canada’s best comedians. An evening of standup comedy about life’s little annoyances. Host: Daryn Jones.

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You Can’t Always Get What You Want

I’m talking OTT and SVOD in Canada here so I’m not going to finish the quote.  I played around with Shomi during the free 30 day trial that I was entitled to as a Rogers subscriber. Then Bell Media was nice enough to give me a 30 day guest pass to the mobile version of CraveTV (since I’m not a Bell subscriber that’s all I could get). So I’ve played around a little, to the extent possible.

Here’s my problem. What I would really like to have is impossible either because of outdated business models, Canadian broadcast regulation or a lack of Canadian OTT regulation. I’m stuck.

I would like to have a service that flows seamlessly between my television and my iPad (my kid would also like it to work on her shiny new Nexus phone) so that I could switch platforms in mid-episode or at least keep track of which episode I’m on in mid-binge. This is possible with Netflix but not possible with Shomi and CraveTV because their OTT platforms (the tablet, web and phone platforms) and SVOD (Subscription VOD on your TV) are licensed separately (OTT being exempt from regulation and SVOD being fully regulated).

I would like a Canadian service that supports Canadian programming on all of its platforms. Shomi and CraveTV have to make a contribution to Canadian programming and provide a quota on their SVOD platforms according to VOD regulation, but have no such obligation for their OTT platforms. Netflix has no requirement at all.

I would like to watch the Golden Globes and know that I have access to the cool new shows like “Transparent” (Shomi quickly announced during the awards that they will be carrying it, it is on OTT service Amazon Studios in the U.S.) and “House of Cards” (on Netflix) without having to pay separate OTT subscriptions for each one. Exclusivity is a model that only frustrates the consumer in the Internet world.

I would like to be able to be a Rogers cable, internet and wireless subscriber (well, maybe not but I am anyway) and subscribe to CraveTV. CraveTV is only available to Bell, Telus and a few smaller BDUs and is unlikely to be available to subscribers of their competition. While Shomi and CraveTV are very similar in how they work, and both have lovely interfaces on the mobile platforms (though both were buggy on their web platforms), I would like to have the option to subscribe to CraveTV if I want to and not be locked in to Shomi because of my cable provider.

So, as a Canadian and a lover of television, CRTC regulation and the BDU business models are not working for me right now.

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Link: Airshow shows the courage of people who make a living off the ground

From Bill Harris of QMI:

‘Airshow’ shows the courage of people who make a living off the ground
There’s no business like Airshow business. That’s what I’m led to believe from watching Airshow, a Canadian original reality series that debuts Monday, Jan. 26 on Discovery. On the one hand, I understand that the pilots and performers who make their livings on the airshow circuit are a unique breed. More airshow personnel are killed every year than in any other job in entertainment. Continue reading.

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City: Bland name, brand comedy

It was a dark day in Canadian TV when Citytv cancelled Murdoch Mysteries back in 2011. Five seasons is a long run for any show but with ratings and creative juices still fresh, the decision seemed like part of that eternal mystery: why are Canadian series so expendable?

Rogers executives grumbling about the cost of producing original series pointed to one possible answer. Their then-recent purchase of the FX brand seemed like another. Canadian broadcasters like to spread their original programming across all their channels to cheaply fulfill CanCon requirements, but Murdoch and FX went together like peanut butter and purple. Luckily, CBC stepped in to the rescue and Murdoch continues on its merry ratings-grabbing way there.

Fast forward four years and City — as they’re now simply known, in a branding move I have to assume was to make themselves entirely un-Googleable — has a small new slate of original programs with a definable tone.

They define that tone as “intensely-local, urban-oriented, culturally-diverse television programming.” Um, sure. [P.S. -ly adverbs don’t take hyphens after them. Signed, Intensely Grammatically Nerdy.]

Forget about the odd OLN series such as The Liquidator that pop up on the mothership network — for their first-run series, City seems to be carving out a niche in comedy.

Now I’m not saying all their comedies are winners, or that their scheduling and marketing were stellar, but the two seasons each of Seed and Package Deal were valiant attempts to fulfill the urban-oriented part of that brand verbiage, anyway. Before they claim “intensely local” and “culturally diverse” for their scripted series, instead of their programming as a whole, they should probably be more blatant about setting and have cast photos that aren’t exclusively or predominantly white but … quibble.

This season, City seems reborn with the delightfully off-centre Sunnyside and Young Drunk Punk out of the gate, and a partnership with CBC that will have them airing Mr. D after it’s been on the public broadcaster. They don’t seem to be ponying up more money for original programming, but a focus on half-hour shows and partnerships gives them more to spread around, at least, while remaining focused on their brand.

So with my rose-coloured, intensely urban glasses on, City seems determined to prove that Canadian comedy isn’t dead – despite what some people say. Now all they need is for one of their brand-name shows to be the kind of hit they had with Murdoch Mysteries.

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