TV, eh? | What's up in Canadian television | Page 564
TV,eh? What's up in Canadian television

Production Begins on Season 2 of Global’s Critically-Acclaimed Mini-Series Mary Kills People

From a media release:

Canadian broadcast and production partner Corus Entertainment, with Entertainment One (eOne) and Cameron Pictures Inc., are pleased to announce that production has begun on the second cycle of Global’s critically-acclaimed drama Mary Kills People. Following a hugely successful first season with praise from critics both in Canada and south of the border, the six-part, one-hour event series will film in and around Toronto into the fall, with the premiere set for winter 2018 on Global.

The series’ multi-talented powerhouse team behind the scenes returns, including creator and executive producer Tara Armstrong, executive producers Tassie Cameron and Amy Cameron, along with newly added directors Kelly Makin, Norma Bailey, and David Wellington with Holly Dale as co-executive producer. Also returning to Season 2 is Caroline Dhavernas as Dr. Mary Harris, along with Richard Short as Mary’s sidekick Dr. Desmond “Des” Bennett, and Jay Ryan as Ben Wesley, the undercover cop who was investigating Mary last season. New this season are Canadians Rachelle Lefevre (Under the Dome, Twilight) cast as Olivia Bloom – a mysterious woman with ties to Mary’s past, and Ian Lake (Bitten, Rookie Blue) cast as Travis Bloom, Olivia’s husband.

In the new season of Mary Kills People, Mary (Caroline Dhavernas) plummets deeper into the criminal world as she searches for a steady supply of pentobarbital, the highly regulated and highly lethal “death drug.” As she becomes more entangled in her illegal work, Mary continues to risk her family and ER doctor career as she tries to keep her worlds separate. But when the mysterious Oliva Bloom (Rachelle Lefevre), approaches Mary and her partner Des (Richard Short) with a lethal request — and when Mary crosses unexpectedly with Detective Ben Wesley(Jay Ryan) — she realizes her secrets can only be hidden for so long.

Mary Kills People is produced by eOne and Cameron Pictures Inc., in association with Corus Entertainment, and with the financial participation of the Canada Media Fund, the Ontario Film and Television Tax Credit and the Canadian Film or Video Production Tax Credit. The series is executive-produced by Tassie Cameron (Ten Days in The Valley, Rookie Blue), Amy Cameron (The Book of Negroes), Jocelyn Hamilton (Private Eyes) and Tecca Crosby (Private Eyes). The series will be directed by Kelly Makin, Norma Bailey and David Wellington with Holly Dale as Co-Executive Producer. Tara Armstrong (Private Eyes) created the series and is executive producer and writer. Additional writers include Tassie Cameron, Morwyn Brebner (Saving Hope), Lara Azzopardi (Backstage) and Marsha Greene (Private Eyes).

 

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Bell Media Licenses Its Original TV Series Format Just Like Mom; plus casting details

From media releases:

Bell Media announced today a deal to license the series format rights to its original series JUST LIKE MOM to leading Canadian production company marblemedia. The deal provides the exclusive Canadian and U.S. rights for the series to marblemedia, who has a greenlight from broadcasters Yes TV and BYU TV respectively, to re-launch the show in 2018. The multi-year format deal provides robust multi-platform and ancillary rights for JUST LIKE MOM, which will be rejuvenated, modernized and renamed to JUST LIKE MOM AND DAD and launched to a new generation of viewers.

The original JUST LIKE MOM was a popular 1980s children’s game show that was commissioned for CTV’s flagship station, Toronto’s CFTO-TV. It ran for more than five seasons between 1980 and 1985 before going into syndication.

Filmed before a live studio audience at CTV’s Agincourt studios, JUST LIKE MOM tested which mother and child knew each other best through answer-matching, the memorable bake-off challenge, and the bonus round which saw the winning team spin a wheel for the chance to win a grand prize.

Today’s announcement represents the second original format deal for Bell Media this year, following the announcement earlier this year that it has created a new, multi-platform, music series format, THE LAUNCH for CTV, its leading national network, for distribution around the world.

More information on JUST LIKE MOM AND DAD, its production, and casting can be found at http://www.justlikemomanddad.com.


Via marblemedia:

Award-winning global media production and distribution company marblemedia announced today it will begin production this fall on Just Like Mom and Dad, an exciting remake of the 80s hit game show Just Like Mom. Produced in association with YES TV in Canada and BYUtv in the US, the 20-episode primetime family game show will premiere across North America in January 2018.

A popular part of Canadian TV pop culture nostalgia, the original series Just like Mom ran over 600 episodes over five seasons from 1980 to 1985 on CTV. marblemedia secured all remake and development rights in an agreement with Bell Media. This multi-year format deal includes worldwide program and format distribution rights to the series through marblemedia’s distribution arm, Distribution360 (D360), along with digital and ancillary rights.

Just Like Mom and Dad, shot in front of a live studio audience on a bright, digital set with brand new hosts, explores how well families really know each other. Each episode will feature three parent-kid pairs competing in two interactive trivia rounds and a final bake-off round in a new kitchen coliseum. The winning team gets the chance to spin the big prize wheel.

Additionally, marblemedia will be releasing digital media components, produced inhouse by marblemedia Interactive, to support the Just Like Mom and Dad series, including an exciting mobile App.

marblemedia has partnered with Segal Licensing, who’s handling licensing and merchandising for the series and is currently in discussion with a number of brand integration partnerships for participation in the series.  Just Like Mom and Dad is financed with the participation of the Bell Fund and Shaw Rocket Fund.

Producers for the series include Mark Bishop, Matt Hornburg, Steve Sloan, Stephen Turnbull, alongside Rob Sheppard for YES TV, Jim Bell for BYUtv and Adam Iversfor Omnicom’s Highway Entertainment.

 

 

 

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Poker Nights, Dating, and Striking: The Lowdown On the Most Close-knit Comedy Casts

Getting on well with the people you work with just makes life a whole lot easier. According to a recent poll from Gallup, 51% of workers aren’t engaged in their work and feel no real connection or joy in what they do on a daily basis. Having fun at work and getting along with your co-workers is crucial for making you feel good, and if there’s one industry where that matters more than arguably anywhere else, it’s comedy! Heck, even if your comedic role means that you aren’t meant to be friends on screen (we’re thinking of the classic foes Jim and Dwight in the American Office here), the chances are you’ll need to be able to have a laugh together off-screen about the fictional bickers you’ve just had, otherwise there is a serious risk that you’re going to end up making a show that is about as engaging as the final season of X Factor USA was. So, how have cast members from some of the biggest comedies over the years managed – or not – to stick together?

Sticking Together: The American Office
Liking each other and being able to have a laugh is, of course, central to getting on, but Steve Carell managed to take things a step further to help endear himself to the rest of the cast. Not only did he make the TV news headlines when he chose to support the 2007 writers’ strike (something that showed unity beyond the acting cast) but he also didn’t use the fame he earned from the release and success of 2005’s 40-Year-Old Virgin film, which grossed 177.4 million USD at the box office, to abandon his role as Michael.

Steve Carell may have helped to keep members of the cast together, but it was the relationship between Jim and Pam that helped this show earn 42 Primetime Emmy Award nominations. Their blossoming on-screen relationship was helped by the fact that, in her own words, Jenna Fischer acknowledged that she developed a genuine bond with John Krasinski. Sadly for US Office superfans (of which there seem to be many), this love did not translate from the small screen to real life, as both actors are now happily married… to other people! This does highlight, though, that turning “fake” love into, at the very least, genuine affection and a real bond in real life can reap dividends on screen. In the case of Jim and Pam, it helped to boost the two actors’ earnings from $20,000 each per episode to $100,000 as the show grew more successful and NBC generated more money from it.

Not Just “Friends”, but Actual Friends!
Another group of actors who got on well and reaped the financial rewards as a result was the cast of Friends. While many people would perhaps imagine that the title of the show precluded the likes of Jennifer Aniston, Matt LeBlanc and even Courteney Cox-Arquette from having anything to do with each other outside the show, the truth is that it all got a little bit close in real life to “The One in Vegas,” an unforgettable episode as one of the many highlights of casino portrayal in popular culture. In fact, according to a recent interview with Jennifer Aniston, whose illustrious list of previous sponsorships includes Emirates and L’Oreal, the gang were encouraged to meet up outside of the confines of filming and they inevitably ended up playing poker together. The strategy-heavy game, which famously involves bluffing and “poker faces” is generally considered to be a very good bonding activity, and that’s what the crew was going for: a quick, effective way to get the cast to bond. It certainly worked out well enough: Aniston and Co. ended up in a position where they received $1 million each to appear in every episode of the final season!

Becoming More Than Just Friends: The Inbetweeners
One cult comedy show that always made it easy to imagine the cast bonding in real life was British hit comedy The Inbetweeners. The show managed to produce two film cast-offs (the second of which generated a then-record £2.75 million during the opening weekend at the UK box office), and much of this success built upon the lovable characters’ inability to date, making episodes more awkward than a super-cringy exchange in Dragons’ Den! Off-screen, things went a little smoother, as two of the show’s characters, Simon and Tamara (who dated (terribly) on the show) have ended up getting engaged. This goes to show that on-screen relationship failures don’t necessarily end up in real-life failures!

How to Survive The Ups and Downs: The Big Bang Theory
Getting on well and even dating off-screen is a wonderful sign that the cast is getting on, but perhaps a bigger test comes when the members of the cast don’t just date but break up as well. This happened on The Big Bang Theory, one of the biggest comedy shows in the USA, with around 12.6 million total viewers tuning in to see the cliffhanger final episode of season 10. Indeed, while Kaley Cuoco and Johnny Galecki have had on-screen success in their relationship, they seem to have managed to find a way to move on from the break-up of their real-life relationship, with Johnny hugging Kaley’s partner during a visit to the set.

Of course, the true test is not just surviving breakups and living together on the set while filming, but also meeting up once the show has ended. The cast of Scrubs, for instance, reunited and documented their meeting, showing that while the show doesn’t always go on, the friendships made during them can certainly endure!

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Link: Cancon television regulations need updating in the age of streaming

From Kate Taylor of The Globe and Mail:

Link: Cancon television regulations need updating in the age of streaming
Shows such as the crime drama Cardinal, distinctively Canadian by virtue of its Northern Ontario setting and plot surrounding the disappearance of an Indigenous girl, would seem to be the sweet spot: It has sold into Britain and several European countries and is seen on Hulu in the United States. That’s great, but why should Canadians sacrifice the likes of Letterkenny just because foreigners may not get it? Continue reading.

 

 

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Links: Wynonna Earp EP: Nicole and Waverly are ‘destined to be together in any universe’

From Dalene Rovenstine of Entertainment Weekly:

Link: Wynonna Earp EP: Nicole and Waverly are ‘destined to be together in any universe’
“If you go down the rabbit hole of rules, it gets really complicated and everybody starts sweating and it begins to feel like math, which is terrifying to me. So we just tried to make it as flexible as possible and emphasize the emotions of it and the relationships we wanted. We thought, let’s not get too hung up on precisely how exact it is — let’s just have fun with it.” Continue reading.

From Bridget Liszewski of The TV Junkies:

Link: Wynonna Earp: Emily Andras talks “Gone As a Girl Can Get”
“I love having a bunch of stuff on the shelf that you know we’re going to reach for and put into the game at some point, but you don’t know when. Sometimes, if we go long enough, you almost forget about it and you’re like ‘oh yeah, Bobo!’ I love doing stuff like that and think it’s really fun. It’s a great reward to hardcore fans who are dissecting it and taking notes.” Continue reading.

 

 

 

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