Tag Archives: Featured

The sexy ghost doctors of Saving Hope outlive competitors

The Canadian television industry has cornered the market on police procedurals, a format palatable to  the international marketplace and audiences at home. After the successes of Flashpoint, Rookie Blue and a number of imitators (“with a twist!”) of varying levels of success, the thoughts of the industry turned to that other staple of case-of-the-week TV: the medical drama.

Combat Hospital got stellar ratings on Global and a cancellation when ABC withdrew after the first season.  They’re trying again with Remedy, which hasn’t landed quite as solidly in the ratings but is in production for a second season.

It’s Saving Hope that’s our medical  success story: it’s held on to million-and-a-half-ish ratings for CTV — and its life — despite NBC pulling out early on due to low ratings Stateside (it has a new American home on ION now).

The initial twist — Dr. Alex Reid’s fiance is in a coma and appears as a spirit —  sounded familiar to those who’d seen CBS’s A Gifted Man, but it has outlived that show by a couple of seasons now, reinventing itself somewhat each time but retaining its relationship-drama-in-a-hospital core with an appealing lead in Erica Durance, supported by an ensemble that this season adds Danso Gordon, Mac Fyfe and Stacey Farber.

Season three tonight starts where season two left off, with Dr. Reid’s colleagues trying to save her life after she was stabbed in the heart (literally this time). There’s a oddly mellow pace to the life-saving attempts as it intercuts with her own spirit-world journey at the beginning of a two-night premiere week, but fans are likely to find the two-parter a satisfyingly novel exploration of its characters without straying from the familiar patterns of the series.

CTV has wisely given the first six episodes a cushy regular timeslot on Thursday nights following Grey’s Anatomy, which has dabbled in its own relationship dramas and not-quite-alive spirit characters.

Saving Hope doesn’t break new ground but it walks its familiar medical soap (with a twist) ground with confidence. Watch tonight and Thursday on CTV, followed by four more fall episodes on Thursdays.

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Interview: Canadian Sleepy Hollow creator’s strange road to success

Phillip Iscove took an unconventional road to writing for television. The Toronto native, who attended Ryerson University’s Toronto Film School while working at Bay Street Video, got a job at United Talent Artists in Los Angeles and headed for Hollywood. Once there, he worked his way up from the mail room to an assistant in the television literary department spending his off-hours at the desk of his boss.

Now he’s the co-creator of Sleepy Hollow, Fox’s rollicking fantasy series about an American Revolution soldier (Tom Mison) who has awoken in 2013 to do battle with the four horsemen of the Apocalypse.

You’ve got a full year on Sleepy Hollow under your belt. Are you still surprised by its success?
Phillip Iscove: I continue to be flattered and surprised by how much I love it. I’d be lying if I said I wasn’t.

You’ve had lots of success and a little luck too. You went from Ryerson grad and Bay Street Video store employee to Los Angeles where you worked for United Talent Artists and worked on scripts during your off-hours. Not the typical road to the television industry.
Many people ask me about my story, but I’m not sure a lot can be learned from it. I got incredibly lucky and the planets aligned for me in a way that I continue to pinch myself every day. The truth is that I got the job at UTA that allowed me to move out here and I sort of approached it like a graduate degree. Like, ‘I’ll work at this agency and I’ll learn the business side of things.’ I had a film degree, but like everyone else I came out here with this altruistic, ‘I’m gonna change things and they’re gonna let me do whatever I want!’ That goes away very quickly. It was just about reading scripts and building relationships with people that supported me and were happy to sit down with me. Those relationships bore fruit and I was able to get myself in front of Robert Orci and Alex Kurtzman.

You didn’t go to the Canadian Film Centre or cut your teeth in Toronto or Vancouver. Did reading scripts and watching a lot of TV streamline your process into what makes for good television?
I think it was a mix of things. I do continue to watch a lot of TV and I try to read as many books as I can and try to be on the pulse as much as humanly possible but I think a lot of it has to do with what sells and why it sells. Being at UTA kind of changed the game for me. It’s very easy to kind of get lost in your own head a little bit: ‘I love this and this and this and everyone should love it with me.’ You have to fall in love with things that are viable as opposed to things that maybe aren’t. It’s trying to figure out making what you love palatable.

I didn’t go to the Canadian Film Centre, I didn’t go to Vancouver but I think that, strangely enough, working at Bay Street Video while going to film school really kind of allowed me understand why I loved something. It’s not enough to just love something; you have to understand why you love it.

What’s it been like working with Roberto and Alex and what do you learn from the guys behind Fringe, Hawaii Five-0 and the Star Trek movies?
The list is long. What they taught me and what they continue to teach me is how to make something palatable to a large audience and how to get lots of people to love your thing. It’s a tremendous gift that they have, the ability to make something fun, grounded and with three-dimensional characters that exist in a universe that people want to spend time in. I learn something more from them every day.

How many seasons of Sleepy Hollow did you have in your head?
I’d be lying if I said I had a number of seasons in my head. I, quite frankly, was just hoping somebody would let me write something. But once Bob and Alex and Len Wiseman and I started to work on the pilot and series documents we started to see a much bigger plan that could come into place. As it said in the pilot, and as it says in the Bible, witnesses do bear witness for seven years of tribulations. It would be great if we ran for seven seasons.

In every episode there is at least one major revelation in the plot, an ‘Oh shit!’ moment. Was it important for you to have a reveal each week?
We just want to take people on a fun ride each week. It’s about the roller coaster that we’ve created for ourselves and you want every episode to be special and like you’ve given viewers the key to an amazing journey. We approach each episode with the hopes of having that ‘Oh shit’ moment that you speak of.

Sleepy Hollow airs Mondays at 9 p.m. ET on Global.

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Review: And the Amazing Race winners are…

The only way to win the final Leg of The Amazing Race Canada is to be perfect and hope that your competitors make a mistake or falter. Best buds Mickey and Pete ran the perfect final Leg–and their competitors Meaghan and Natalie and Ryan and Rob struggled–and the boys from Muskoka, Ont., won The Amazing Race Canada.

The two fellows with the luxurious heads of hair arrived first on the mat at Ottawa’s Rideau Hall in front of host Jon Montgomery and those eliminated earlier this season, promptly pulled off their shorts and embraced. The friends, once they put their pants back on, will pocket $250,000, fly free for a year anywhere Air Canada flies worldwide in Business Class, plus two Chevrolet Silverado High Country Edition Pickup Trucks and a lifetime supply of gas courtesy of Petro Canada. Winter Olympians Meaghan and Natalie captured the silver medal while Ryan and Rob received bronze.

Rob and Ryan started the final Leg in first place after grabbing a cab upon arrival in Ottawa from New Brunswick but their cab driver headed to the wrong address and the other two teams passed them and they never made up the ground. Instead, they were forced to play catchup for the remainder of the Race. Meaghan and Natalie, meanwhile, got their inflatable kayak first but were out-raced to the water by Mickey and Pete. The boys’ knowledge of white water rafting–and the girls’ being rookies at it–meant they got ahead and never relinquished the lead. That said, things got very, very close several times and the leads could have switched at least twice.

A trip to John Diefenbaker’s Diefenbunker–a sprawling Cold War nuclear bunker outside of Ottawa–challenged teams to find miniature military models and if Natalie had been a little more diligent in her searches she would have been done first. Meaghan, meanwhile, had her own issues when her increasingly painful right hand was subjected to stress during a vertical rope climb to the top of the Canadian Museum of Nature. I was willing her to complete the task as quickly as possible, but she just couldn’t catch Mickey.

The final task–using  everyone’s memory to put together paintings of the countries the teams had visited–found all three teams in the same room and just minutes apart in completing it from one another.  Mickey and Pete appeared to arrive at Rideau Hall mere minutes before the other two teams did.

I’ve really enjoyed this second season of The Amazing Race Canada. Though I criticized producers for taking the show outside of the country, Legs to China and France (Juno Beach was a tear-jerker of a Pit Stop) enriched the show and made it an entertaining season.

The hour-long After the Race special hosted by James Duthie was a fairly lighthearted affair, revisiting key moments with all of the teams and announcing that there will indeed be a Season 3 of The Amazing Race Canada. They’re taking applications now.

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Talk TV Hearing Post-Mortem – Now What

If you’ve been following along with the two week CRTC hearing then like me you’ve probably hit your broadband data cap (12 hours of hearing on Sept 10th just killed me) and you’re wondering if it was worth it. What happens now? What did we get out of it?

First, it’s not really over yet. A number of stakeholders had very specific undertakings to deliver more information by 5pm PST September 19th. Some of it will be on the public record while other information will be held to be confidential (if requested and if the CRTC agrees). We will see what Google decides to do about their undertakings as like Netflix, they may not want to acknowledge the CRTC’s jurisdiction. What data is delivered will trickle out over the next few days.

By now you’ve heard about the fireworks between Netflix and the CRTC and you are on one side or another of the debate [If you haven’t heard – Netflix was asked to provide lots of information and wanted a better confidentiality guarantee than other stakeholders get and the Chair of the CRTC got really angry at the request for special treatment]. Netflix has until 5pm Monday to deliver their copious orders (they would not take undertakings so were given orders) to produce information. If they give the data they will be confirming CRTC jurisdiction (at least in some eyes). If they do not they will be escalating the conflict and we have no idea what the CRTC will do next.

The next stage is that intervenors can submit Replies to the CRTC by October 3rd. Replies can be responses to things that other intervenors said or clarifications of what was said by an intervenor but should not be new evidence.

Then the record will be complete and the CRTC will deliberate. As the Chair said in his final address, the Commission will make its decision based on the evidence presented, in accordance with the CRTC’s governing statute. Why is this important? Three times during the hearing members of the government made statements about what they would not allow to happen coming out of this hearing. The public, including some journalists, seem to think that the government can interfere with an ongoing hearing in that way. The Chair was trying to remind everyone that is not the case. The government may take steps after the decision is rendered but not before.  Without a doubt this could influence their decision-making but the process must be respected.

I doubt that there is any willingness to extend a financial contribution to foreign OTT but the Commission seemed very interested in what Netflix could do to promote Canadian programming within the general recommendations (and not just as a separate genre), which it apparently is doing in France and Netherlands.  Even that however, would be exercising their jurisdiction to regulate Netflix, which the Commission has stated they have had all along by issuing the Exemption Order.  Netflix may see it otherwise.

However, I will not make any predictions about what the decision will look like or even when we will see it. Big policy hearings can take months to process the decision on all of the issues. Going into the hearing I will admit that it seemed like the Commission was likely to stick pretty close to its proposed framework but aspects of it were consistently called into question. For example, the proposal to eliminate simsub from events like the Superbowl was almost universally rejected by broadcasters and producers, given the importance of both revenue and the promotion slot to Canadian programming.   I think the record will show no agreement on what would happen with a pick and pay world or how much it will cost consumers so I could not guess which option we will end up with.

A few conversations surprised me. The Commission spent more time than in any hearing that I can recall talking about children’s programming. Unfortunately the focus was too often on how you define ‘children’ and not enough on ensuring that all Canadian children have access to Canadian programming. If there will be some kind of skinny basic then either conventional channels have to air children’s, the skinny basic has to include at least one children’s service or the CRTC has to decide to limit support to the preschool educational content on CBC and educational broadcasters. I hope the decision is not the last one but we’ll see.

The other one that surprised me was the idea that removing daytime exhibition requirements would free up money to be spent in prime time. Broadcasters like their daytime programming and were loathe to give it up. That will not be the solution. I was not surprised by the very loud objection to getting rid of local transmitters as a way to pay for local television. OTA advocates tend to be very passionate about their cause.

Blais was very interested in a proposal from E One to encourage big budget co-ventures with the U.S. with looser Canadian content regulations but higher rate of return.  This fit right into what appears to be Blais’ personal interest in a greater use of the CRTC co-venture rules.  It was unfortunate that E One was on the last day so that the creative community could not explain how shows with U.S. studio partners may make more money but do use less Canadian talent and tell fewer Canadian stories. Those kinds of shows can be made today within the rules but it appears that E One would like the financial support that is currently limited to more Canadian productions.

A public hearing like this by its nature is an opportunity for a wide variety of stakeholders to put forward their positions and it is the Commission’s job to assess the often competing evidence and make a decision.   A lot of effort was put into this hearing so while some are hoping for the status quo, many are hoping it was worth it and we will get significant regulatory change that will help the Canadian broadcasting system survive the coming shifts in the media landscape.

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Review: Haven says goodbye to fan favourite

Spoiler alert: Jennifer is dead. This wasn’t a surprise for die-hard Haven fans or loyal Twitter followers of actress Emma Lahana and her former co-star Eric Balfour. The duo had traded “miss you’s” on social media earlier this year when cameras began to roll on Season 5. Still, it was a bit of a bummer to have her exit confirmed during Haven‘s two-hour return on Thursday.

The implosion of the lighthouse–the third time that poor thing has been destroyed in five seasons–marked the start of “See No Evil.” Everyone who had been under there when the gateway door closed after sucking in William in the Season 4 finale–Nathan, Duke, Dave, Vince, Dwight, Mara/Audrey (a.k.a. Maudrey) and Jennifer–had been strewn across parts of the town and spent time meeting up again and accessing the damage. No one could find Jennifer and Duke made it his mission during “See No Evil” and the follow-up “Speak No Evil” to find her.

The ultimate realization she was dead–after several other corpses turn up thanks to a Trouble exuded by Duke that sewed up eyelids, ears and mouths as long as he was in denial about Jennifer’s fate–was crushing to the lanky entrepreneur. As a viewer, I was devastated. Lahana’s Jennifer was spunky, sarcastic and fun, the perfect match for Balfour’s Duke. The two made a fantastic couple and I’m going to miss that terribly. Of course, Haven is a sci-fi show and she could come back to life because of some twist in the plot, but I don’ t think that’s in the cards.

Meanwhile, Haven‘s other power couple are having Troubles troubles of their own. Audrey is still inside her body, but Mara is in full control. That’s a major issue for Nathan, who just wants his lady love back. I want them to be together too–five seasons is a long time to drag the relationship out–but I am liking Mara. Sure, she’s cold, bitchy and super-mean to puppy dog Nathan, but she’s also an interesting character. I’m sure actress Emily Rose is having a blast jumping back and forth between playing these gals, softening her features for the seconds Audrey comes through and hardening them for Mara.

Mara’s original plan was to leave Haven through one of several thin areas between dimensions–a popular Stephen King trope I might add–but she has been thwarted so far and is stuck in the town for the time being. In the interim, she’s going to make life hell for Nathan and the townsfolk, while new Guard leader Dwight–who took over for Vince by the end of Thursday’s episodes–figures out how to protect the town from Maudrey’s ongoing menace.

Haven airs Thursdays at 10 p.m. ET on Showcase.

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