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TV,eh? What's up in Canadian television

Bellevue: Dolls and Riddles and Death, Oh MY!

Here we are at the conclusion of Episode 2 of Bellevue—written by Jane Maggs, produced by Diandra Yoselevitz and directed by Adrienne Mitchell—and we are left with many questions. But first, here is a rundown of what we know from last week’s premiere episode:

Our story takes place in the mining town of Bellevue, a town that has fallen on hard times. Det. Annie Ryder (Anna Paquin, most recently from True Blood) is a single mom to Daisy (Madison Ferguson).  Daisy’s father, Eddie Roe (Allen Leech of Downton Abbey fame), is still very much a part of their lives—seems this couple is the Lucy and Desi of Bellevue. As a child, Annie’s life was forever altered when her father, also a police officer, took his own life following his inability to solve the case of Sandy Driver, a teen brutally murdered in Bellevue. That case is nicely summarized for us by Daisy in a history presentation for school. We also discover that, following her father’s death, Annie received letters—riddles really—from someone posing as her father. This creep essentially stole Annie’s childhood, resulting in a lifetime battling with self-harm, be it a  physical manifestation or emotional. I am very curious to see how the religious metaphors are going to play out in conjunction with childhood innocence and the duality of good versus evil.

A police investigation is launched following the apparent disappearance of Jesse Sweetland (Sadie O’Neil), the town’s star hockey player who rumour has it is reconsidering his gender identity. Annie Ryder is leading the investigation.

With this new case, the creep of Annie’s youth returns, and the riddles begin anew. “When someone else ate, you became full of me. What am I? Find me where there is none.” There is no “original sin” at the old derelict teen party hang-out “Immaculate Conception” church. We head to the old church and discover that perhaps Jesse’s absence has some religious connection. Even conversion therapy is hinted at.

Episode 2 delves deeper into the case. More leads are discovered and we also gain insight into the complexities that are Annie.

First, some clarification may be needed with respect to Immaculate Conception. It is oftentimes confused with the Doctrine of Incarnation, which covers the birth of Jesus. Immaculate Conception refers to Mother Mary’s conception wherein God blessed Mary at the time of her conception, preserving her soul from the stain of original sin and preparing her to carry the Son of God in the future. I have yet to watch any episodes beyond the first two as I write this, but I have a strong feeling this distinction may prove important as we move forward.

At any rate, this episode picks right up with Annie and confirmed bachelor Chief Peter Welland (Shawn Doyle of Frontier) back at Immaculate Conception, to find all of the blood/paint and barbed wire gone. Also missing is “Alfie” the clown, a figurine Annie had left for her father/creep as a child. Annie is now convinced the “asshole that gave me riddles” is back and shares that information with Peter. Peter’s reaction to the discovery the creep left a message on Annie’s rear windshield while Daisy was in the car demonstrates his long-standing loyalty to Annie. What we don’t know yet is why. Peter believes this guy from Annie’s past has nothing to do with Jesse and orders her off the case; he is handling it personally. Annie believes creep is watching her but does not explain the message delivery system fully; creep messes with her mailbox each time he leaves a new message in the forest for Annie.

We rejoin Annie as the search party is convening, providing a nice foil to learn about the various townspeople. Annie speaks with Jesse’s mother Maggie (Victoria Sanchez of 19-2), but when she spots Father Jameson (Joe Cobden) leading a prayer session, Maggie physically attacks him, naming him responsible for her son’s disappearance. Father reveals he has an opinion regarding Jesse’s “sickness.” But who is the one whose soul is troubled here? Later, we discover Maggie has an ongoing physical relationship with the Father and he permits her advances in the sanctuary. Seems the Father is also a proponent of self-mortification; to atone for his own sinful nature.

Mayor Mansfield (Janine Theriault) is trying to keep the town calm in light of the both the state of high unemployment and this disappearance. Seems she is not getting along with her own daughter Bethany (Amelia Hellman) who as it turns out is secretly attracted to Jesse as a female, much to the dismay of her boyfriend, Jacob (Robert Naylor of Cardinal). Annie catches Bethany searching the crime scene for something small that proves to be an Eiffel Tower earring Bethany tore from Jesse’s ear at the time of his disappearance. After speaking with Bethany, Annie returns to her car and discovers a doll in her backseat, dressed to represent the Virgin Mary.

This latest gift leads Annie to question if the Sandy Driver case her father was unable to solve is somehow linked to Jesse’s disappearance. Sandy’s body was found dressed as the Virgin Mary. Inside a tear in the doll’s leg, Annie finds intact fingernails wrapped in plastic, presumably those that were missing from Sandy Driver’s body and never recovered. Note where on a women’s corresponding anatomy this tear exists on the doll. Coincidence??

Police start to put the scene together and question the boys from Jesse’s hockey team. Their line of questioning leads to Jacob admitting to beating Jesse and witnessing Jesse getting into a white pickup truck.

Another message from creep is left for Annie: “What is the thing that travelers pursue. Hard to hunt; hard to view. The nearer you get the faster it runs from you. There you will find a fish out of water.” Travelers reach out for “New Horizons,” the remnants of a psychiatric hospital, established in 1854. The site now houses a small shack, where Annie quickly assumes Sandy Driver was held, and nearby is a small pond where Annie discovers Jesse’s body.

WHEW! That episode had a ton of stuff happening.

A few of the questions remaining: Who is creep? What is the connection between Sandy Driver and Jesse Sweetland? Why is there a connection between Annie and the two cases? What connection does Father Jameson have to Jesse? Will Eddie be able to protect Annie? What is behind Peter’s protective nature over Annie and Daisy, and why is he so emphatic she not investigate the creep/riddler?

Let me know your theories in the comments below.

Bellevue airs Mondays at 9 p.m. on CBC.

Feature image courtesy of CBC.

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Production underway on Season 2 of Discovery’s original Canadian series Heavy Rescue: 401

From a media release:

Discovery today announced production is underway on a second season of its new, smash hit original Canadian series, HEAVY RESCUE: 401. With the Season 1 finale scheduled to premiere tomorrow night (Feb. 28) at 10 p.m. ET on Discovery, the network has confirmed 10 brand new episodes are already in production for broadcast in early 2018.

Debuting last month to a premiere episode audience of more than 760,000 total viewers, HEAVY RESCUE: 401 became the most-watched premiere in the network’s 22-year history. In all, nearly 3.5 million unique viewers – or one in 10 Canadians – tuned in to the first episode. To date, the series has an average audience of 627,000 viewers in its premiere timeslot.

Produced by Thunderbird Entertainment’s factual arm and the creators of Discovery’s HIGHWAY THRU HELL, Great Pacific Media, HEAVY RESCUE: 401 follows multiple major tow operators, rescue, and maintenance crews day and night along North America’s most intense stretch of highway, Highway 401. With the support of the Ontario Provincial Police (OPP), the Ministry of Transportation of Ontario, York Regional Police, maintenance contractors, and several other organizations, the series features the men and women who keep Ontario’s 400-series highways operating at any cost.

More than 300 people work on the production of HEAVY RESCUE: 401. The series is made possible with the support of the Ontario government’s film tax credit program, and the Canada Media Fund.

HEAVY RESCUE: 401 is produced by Great Pacific Media (a Thunderbird Company) in association with Discovery. Executive Producer is Mark Miller and Blair Reekie. The series producer is Todd Serotiuk.

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Bell announces executive leadership changes at Bell Media

From a media release:

BCE Inc. (Bell) (TSX, NYSE: BCE) today announced the appointment of Randy Lennox as the new President of Bell Media following the departure of Mary Ann Turcke for a new opportunity with the National Football League.

Randy Lennox
As President of Bell Media effective today, Mr. Lennox leads all strategy and operations for Canada’s largest media company, including conventional, pay and specialty TV, radio, digital media, out-of-home advertising and special projects. He reports to Wade Oosterman, Group President of Bell and BCE, who oversees Bell Media, Bell Mobility, and Bell Residential and Small Business, and also serves as Bell’s Chief Brand Officer.

Mr. Lennox was promoted from his position as Bell Media’s President, Content and Broadcasting, responsible for the CTV Networks; all local radio and TV assets; English-language specialty channels, including Bravo, Comedy, E!, Gusto, Much and Space; all of Bell Media’s in-house and independent English-language content productions; and iHeartRadio Canada, the international brand he brought to Bell Media in 2016.

Previously, Mr. Lennox was President and CEO of Universal Music Canada, where he helped elevate homegrown talent, including Justin Bieber, Drake, Shawn Mendes, The Tragically Hip and The Weeknd, to the international stage while successfully leading Universal through a time of tumultuous change in the music industry. He has been honoured as a member of the Canadian Music and Broadcast Industry Hall of Fame and sits on the board of directors for Music Canada, CARAS and Canada’s Walk of Fame; the board of governors for Massey Hall and Roy Thomson Hall; and the culture advisory board of Ontario.

Mary Ann Turcke
Mary Ann Turcke has accepted a position with the National Football League as President, Digital Media and NFL Network, based in Los Angeles. Part of the Bell team for the last 12 years, Ms. Turcke was promoted to President of Bell Media in April 2015 from her previous role as Bell Media’s President, Media Sales, Local TV and Radio.

Joining Bell Canada in 2005 as Vice President, Customer Experience and Operations for Small and Medium Business, Ms. Turcke was promoted to Executive Vice President of Field Operations in 2008, leading Bell’s team of installation and service technicians in delivering Fibe TV, Internet and other Bell residential and business services. She is a member of the Women’s Executive Network Hall of Fame and was named 2015 Woman of the Year by Women in Communications and Technology.

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Film, television and digital production in Toronto hits record-breaking $2 billion in 2016

From a media release:

Domestic and foreign film, television, digital and commercials production investments in Toronto had a third record-setting year in 2016 and achieved the $2.01-billion level for the first time.

Some of the major highlights for 2016:
• Domestic and international screen-based productions exceeded the $1-billion mark for the sixth consecutive year, with a 33-per-cent increase over the $1.55 billion reported in 2015.
• Foreign major production investment in film and television grew to $794 million, a 49-per-cent increase from 2015. Since 2014, foreign production investment has increased by 129 per cent.
• Investment in animation and visual effects grew to $403 million, a 179-per-cent increase from the $144.5 million reported in 2015. Since 2014, investment in this area has increased by 363 per cent from $87.1 million.
• Television series, foreign and domestic, remains the dominant investment type in Toronto with an increase to $908 million in 2016.
• Investment in commercials production continued to rise to record levels, growing to $380 million, a 10-per-cent increase from the $345 million reported in 2015. Since 2014, investment in this area has increased by 95 per cent from $195 million. (Note that this type of investment is measured by Toronto but not by other levels of government.)
• The number of location filming shoot days has seen three record breaking years, with an increase to 7,280 shoot days in 2016.

The above numbers also help to show a larger Toronto industry success story. Combining the $2 billion in investment noted above with figures from broadcasters and the interactive digital media cluster results in a total investment figure of $3.26 billion for all of Toronto’s film, television and digital media production in 2016. That figure represents a 16 per cent increase from 2015.

The detailed report can be found here.

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Link: Jane Maggs bringing up Bellevue

From Sea and Be Scene:

Link: Jane Maggs bringing up Bellevue
“I was in a writing class and we were asked to modernize a fairy tale and I always loved Rumpelstiltskin (for its dark weirdness) and SOMEHOW it morphed out of that tiny idea. I guess it came from the idea of this person speaking to you and until you figure out who he is – you are weirdly indebted to him. Thinking of how to put that into a modern context was a sort of brain exercise that got some wheels turning.” Continue reading.

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