Crave announced today the highly anticipated debut of SHORESY streams Friday, May 13. Created by and starring Jared Keeso, the six-episode, half-hour hockey comedy sees the foul-mouthed, chirp-serving, mother-loving, fan favourite character, Shoresy (Keeso), join the Sudbury Bulldogs of the Northern Ontario Senior Hockey Organization (The NOSHO) on a quest to never lose again.
Two new episodes of the LETTERKENNY spin-off rollout every Friday, exclusively on Crave. In the series debut, “Never Lose Again,” Shoresy tries to prevent his team from folding. The next episode, “Veteran Presence,” follows Shoresy and his new recruits attending a mixer at Nat’s, the General Manager of the Sudbury Bulldogs.
Season 1 of SHORESY was shot on location in Sudbury. As previously announced, Hulu will be the exclusive streaming home to the debut season of SHORESY in the U.S., joining its smash-hit predecessor, LETTERKENNY, as a Hulu Original.
Developed by Bell Media for Crave, SHORESY is produced by New Metric Media, in partnership with Play Fun Games in association with Bell Media, with the participation of Canadian Media Fund, OMDC Tax Credits, and the Canadian Film or Video Production Tax Credit and the Northern Ontario Heritage Fund, and is distributed by WildBrain, New Metric Media is the exclusive sales agent. Jared Keeso is executive producer, writer, star, and creator. Jacob Tierney is executive producer and director. Kaniehtiio Horn is consulting producer. Mark Montefiore and Kara Haflidson are Executive Producers for New Metric Media.
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.
CTV announced today that it has renewed Canada’s most-watched drama series TRANSPLANT for a third season. Produced by Sphere Media in association with CTV and Universal International Studios, a division of Universal Studio Group, Season 3 of the CTV Original drama consists of 13 one-hour episodes. New episodes of TRANSPLANT’s second season continue Mondays at 10 p.m. ET/PT on CTV, CTV.ca, and the CTV app, before moving to its new timeslot of Tuesdays at 10 p.m. ET/PT beginning March 1.
Filming on Season 3 will take place in Montréal, with Hamza Haq (MY SALINGER YEAR) reprising his role as Dr. Bashir Hamed – known to most as Bash – a talented doctor and Syrian refugee who fled to Canada and was granted a second chance to practice Emergency Medicine at York Memorial Hospital in Toronto.
The series continues to resonate with audiences across Canada as the most-watched Canadian drama series with total viewers and in the key A25-54 demo, with a current season average of 1.1 million viewers. TRANSPLANT has also had international success, having been embraced by U.S. viewers on NBC, with Season 2 set to premiere March 6 at 10 p.m. ET. The drama has also launched across the UK, Australia, Spain, Germany, the Netherlands, and more.
TRANSPLANT has also received critical acclaim and recognition, including nine 2022 Canadian Screen Award nominations for Best Drama Series, Best Lead Actor, Drama Series for Hamza Haq, Best Lead Actress, Drama Series for Laurence Leboeuf, and Best Supporting Actress, Drama for Ayisha Issa.
Season 2 of TRANSPLANT stars Hamza Haq (MY SALINGER YEAR) as Dr. Bashir “Bash” Hamed; Laurence Leboeuf (19-2) as Dr. Magalie “Mags” Leblanc; John Hannah (MARVEL’S AGENTS OF S.H.I.E.L.D.) as Dr. Jed Bishop; Ayisha Issa (POLAR) as Dr. June Curtis; Jim Watson (DESIGNATED SURVIVOR) as Dr. Theo Hunter; Sirena Gulamgaus (ORPHAN BLACK) as Amira Hamed; Torri Higginson (DARK MATTER, THIS LIFE) as Claire Malone; Linda Smith (19-2) as Dr. Wendy Atwater; Kenny Wong (PRETTY HARD CASES) as Arnold De Luca; and Sugith Varughese (Kim’s Convenience) as Dr. Aajay Singh.
TRANSPLANT is created by Joseph Kay who also serves as Executive Producer and Showrunner.
CTV announced today live from Prime Time in Ottawa that it has ordered a second season of its new, original comedy CHILDREN RUIN EVERYTHING for the 2022/23 broadcast season. Production is set to begin this Spring in Toronto and Hamilton, Ont., with an increased episode order for Season 2 consisting of 16 half-hour episodes – double from its eight-episode first season. From award-winning New Metric Media, CHILDREN RUIN EVERYTHING is created by Emmy® and Golden Globe® Award-winner Kurt Smeaton (SCHITT’S CREEK, KIM’s CONVENIENCE).
CHILDREN RUIN EVERYTHING Season 1 joins the Roku Originals programming slate on the Roku Channel in the U.S. this year.
CHILDREN RUIN EVERYTHING follows parents, Astrid (Meaghan Rath, BEING HUMAN) and James (Aaron Abrams, BLINDSPOT), as they raise their two young children in the city and struggle to hold on to their pre-kid life – one conceded battle at a time. Season 1 of the CTV Original comedy, currently airing Wednesdays at 8 p.m. ET/PT on CTV, CTV.ca, and the CTV app, ranks as the biggest debut for a Canadian comedy among A25-54, since 2019 (CTV’s JANN). The series also currently ranks as CTV’s #1 new comedy of the 2021-22 broadcast season.
In addition to Rath and Abrams, the series also stars Ennis Esmer (BLINDSPOT, SCHITT’S CREEK); Nazneen Contractor (RANSOM, HEROES REBORN); Logan Nicholson (BLUES CLUES AND YOU) and Mikayla SwamiNathan; Dmitry Chepovetsky (KILLJOYS, DEPARTURE); Veena Sood (CORNER GAS ANIMATED, THE INDIAN DETECTIVE); Lisa Codrington (LETTERKENNY, ANNE WITH AN E); and Darius Rota.
CHILDREN RUIN EVERYTHING is from award-winning New Metric Media and is created and executive produced by Golden Globe® and Emmy® Award-winner Kurt Smeaton (SCHITT’S CREEK), and executive produced by one of television’s premier comedy writers Chuck Tatham (MODERN FAMILY, ARRESTED DEVELOPMENT), multiple Canadian Screen Award-winner Mark Montefiore (LETTERKENNY, WHAT WOULD SAL DO?), and Meaghan Rath, with Beth Iley (KILLJOYS) serving as producer.
Director Jill Carter has had a wide and varied career. She’s been behind the camera on Beauty and the Beast, Private Eyes, Spiral, Heartland, Murdoch Mysteries and The Murders. But her latest gig, on Astrid & Lilly Save the World, might be the most interesting and well-received so far.
Airing Wednesdays on CTV Sci-Fi Channel, media on both sides of the border have been universal in its praise for Astrid & Lilly Save the World, celebrating its cast—led by Jana Morrison (Astrid) and Samantha Aucoin (Lilly)—co-creators Noelle Stehman and Betsy Van Stone, and plot. Combining the horrors of high school with monsters, a portal to another dimension, humour and regular-looking characters has drawn comparisons to Buffy the Vampire Slayer, but Astrid & Lilly is definitely a unique beast.
We spoke to Jill Carter about joining the show, her cast and what goes into creating the world Astrid and Lilly are in.
The last Newfoundland-shot supernatural series I loved was Surreal Estate, which was, sadly, cancelled. I’m thinking that Astrid & Lilly Save the World is going to fill that hole. I really enjoyed the first episode. Jill Carter: Thanks! We definitely had fun making it. I had been to Newfoundland but hadn’t worked there. It was a really wonderful experience and obviously a very beautiful province.
Actors audition for a project. How does it work for a director on something like this? JC: I have an agent in the U.S. and an agent in Canada, and they have a pulse on everything that’s happening, either that’s already in production or things that are coming into production or in development. They will either pitch their directors or writers or whoever before there’s a call. There are variables that can go into how you are pitched a project or how they pitch directors on a project.
And then they just go through the rounds of meeting who they think might be the type of person that could deliver the type of show that they are looking to deliver, and also might bring some new ideas to the table. They were meeting with people and my agent pitched me and they liked the idea and, I think, the fact that I had just done the opening two episodes of The Bold Type.
I was sent the first two scripts, the ones that I ended up directing, and the show bible. Immediately, on the first three pages in, I was like, ‘Oh my god, this is so fun.’ Their writing was so clear, there was a clear POV and you really immediately understood who these people were, the dynamics of the characters and what was happening.
Jana Morrison (left) and Samantha Aucoin. Image courtesy of Jill Carter.
It was so nice to read something that was so strong and had a clear perspective and was also highlighting things that all of us as human beings have been in high school. It doesn’t even happen to happen in high school these days, where we haven’t felt like we’ve been able to be our full selves. We’re judged unfairly or we aren’t able to fully be the unique people that we are for a multitude of reasons. I think it’s a throwback or a fun trip down memory lane.
The show is built on that friendship and they’re very unique girls. Their friendship is so important to what makes the show relatable. I was very charmed by what I was reading and the ideas that were being put forth and then getting to play in a dimension that I actually hadn’t had.
Other than Beauty and the Beast, I hadn’t really done a lot of work in that area. It was fun to have the opportunity to play with prosthetics and visual effects in that way and create a fun language around it.
Being the director of the pilot episode, there’s that added responsibility of helping to build this world using colour. I’m imagining it must be a collaborative process between yourself, your cinematographer and the two co-creators as well. JC: That idea was something I pitched when I was interviewing. It was a thought that came to me as I was reading the material and trying to figure out what would I want to see. Being a teenager is such an emotional time in your life, navigating feelings, and the colour wheel kind of popped into my head. I started thinking, ‘Wouldn’t it be fun to have each monster, because of the nature of how the monsters were being presented, and how they were capturing their prey?’
They were going after people that they wanted to ultimately kill. Our first monster preys on people’s sadness, so what does that look like in a colour and how can you subtly infuse the story and make it stronger without hitting people over the head? Working with Betsy Van Stone, [producers] Danishka Esterhazy and Samantha Levine and Anne Tipper, our cinematographer, our production designer, Helen Kotsonis … working with the key creatives to say, ‘OK, this is the idea, this is what we want to do.’
Jill Carter (left) and cinematographer Ann Tipper. Image courtesy of Jill Carter.
Is this a first for you, working with key creatives who are all female? JC: It’s definitely up there. I think this is the first show where we’ve had non-binary and women in every key position.
Both the leads are relative newcomers to the industry. What was it like working with Jana and Samantha? JC: I cannot say enough good things about both of the girls. Day in and day out they blew me away. On Day 1 we had a big steady cam scene that was covering two, three pages through the hallways of the school. I was literally saying, especially to Sam, because she’d never done this before. I’d be asking her to do these things and talking to her, and she was unbelievably natural. I actually don’t know that I’ve ever worked with an actor who was that natural.
They were lovely, lovely human beings, very open, very curious, unbelievably prepared.
Astrid & Lilly has been positively reviewed by Canadian and U.S. media. That must be gratifying. JC: It’s really exciting. I love the fact that despite the fact that the girls are struggling in high school and trying to figure out how to fit in, one of the things that are so amazing is that they really do like themselves. Everybody has moments of insecurity, but they really are genuinely who they are and you don’t meet characters like that very often. I don’t feel like their struggles are presented in a stereotypical way. It’s very positive messaging that the show puts forward.
Astrid & Lilly Save the World airs Wednesdays at 10 p.m. Eastern on CTV Sci-Fi.
