Tag Archives: Lost Girl

Link: Creator Michelle Lovretta of Killjoys and Lost Girl on keeping the story alive

From Ilana Rapp of NY Castings:

Link: Creator Michelle Lovretta of Killjoys and Lost Girl on keeping the story alive
“You need a concept strong enough to attract an initial audience the crucial first year, that is producible within a reasonable budget, and that has a built in story engine ensuring that you can tell this story for years to come. Lots of TV ideas make for great pilots but unsuccessful series, simply because they run out of story.” Continue reading. 


Link: ‘Dark Matter’ EP Vanessa Piazza Sets Multi-Year Producing Partnership with eOne

From Joe Otterson of Variety:

Link: ‘Dark Matter’ EP Vanessa Piazza Sets Multi-Year Producing Partnership with eOne
Entertainment One (eOne) has entered into a multi-year producing partnership with executive producer Vanessa Piazza through her production company Piazza Entertainment.

The partnership encompasses Piazza’s television projects, where eOne will serve as the studio and will control worldwide rights. Piazza developed and executive produced the international hit supernatural series “Lost Girl” and served as executive producer of Seasons 1 and 2 of the sci-fi drama “Dark Matter.” Continue reading.



Link: Lost Girl And Wynonna Earp: SyFy’s Queer Revolution

From Princess Weekes of Bust:

Link: Lost Girl And Wynonna Earp: SyFy’s Queer Revolution
What makes the show really stand out is its masterfully-written bisexual character, Waverly Earp, and her lesbian love interest, Officer Nicole Haught. Waverly’s emerging sexual identity is treated respectfully but does not consume the entirety of her story arc. Her previous interest in men is also not handwaved away, and she is allowed to be bisexual without having to “pick a team.” While Andras has never promised to keep all characters safe, she has never been one to “bury your gays,” and after the death of Lexa on The 100, fans were relieved that at least for season one, the main ladies are safe. Continue reading.


Canadian Kris Holden-Ried joins Season 5 of History’s Vikings

HISTORY® announced today that Ontario native Kris Holden-Ried has been cast as Eyvind (AY-vind) in season 5 of the award-winning series Vikings. Season 5 is currently in production in Ireland and Canada and will air in Canada on HISTORY in 2017.

Holden-Ried will appear throughout the season as the character Eyvind, an important warrior in Kattegat who decides to travel and settle his family in a new land.

Hailed for his starring role in Showcase’s award-winning original series Lost Girl, Holden-Ried most recently moved behind the camera with his directorial debut, The Epitaph, and is developing a TV series based on an internationally-acclaimed trilogy. Holden-Ried was a champion competitor in riding and fencing. He is a former member of the Canadian National Pentathlon Team and has a silver medal from both the Pan American and Pan Pacific Pentathlon Championships. He is represented by Amanda Rosenthal Talent Agency and Luber Roklin Entertainment.

Season 4 of Vikings returns with all-new episodes Wednesdays at 9 p.m. ET/PT beginning November 30 on HISTORY.

Fans can catch up on past seasons of Vikings on HISTORY.ca, HISTORY on Demand, HISTORY Go app, shomi, and iTunes.

Vikings is an international Canadian/Irish co-production by Take 5 Productions and World 2000. HISTORY broadcasts both domestically in Canada and the U.S. MGM Television brings Vikings to the global audience, serving as the worldwide distributor outside of Ireland and Canada. Vikings is produced in association with Corus Entertainment.


The amazing race to make Family Channel’s Backstage

Lara Azzopardi has been a producer on such shows as Lost Girl, The Listener, The L.A. Complex and Combat Hospital, and totally switched genres when she became showrunner, writer and director on Backstage, Family Channel’s series about the artistic kids attending an arts high school.

Pregnant with her third child, she expected the usual six to eight-month show development so she could give birth before filming would begin. Nope: Producers Fresh TV accepted her series bible and pilot script on a Friday and greenlit it the following Monday. Filming 30 episodes of Backstage in 30 days was tough enough, but Azzopardi had just given birth, meaning baby was on-set through the entire process. Combine that with the fact her cast was made up of singers and dancers with little formal acting training, and Azzopardi’s ride has been a wild one.

I’m fascinated with the behind-the-scenes of television, and I think you’ve got to be the only showrunner I know that was hauling a newborn around during production.
Lara Azzopardi: It was not planned that way! [Laughs.] I would never have been able to do that if it was my first baby. I don’t think I would have had the courage. It all kind of worked out in a crazy way and I felt I knew kind of what I was doing. But when I think about it now, it was pretty insane.

Fresh TV pitched this “Fame for kids” idea to you. What was it that excited you about their idea?
They had put together a two-page document that had a very general synopsis of the school and stock characters of the people they wanted to see in it. I had never done a kid’s show before. I had written a freelance script at the beginning of my career for Degrassi and that was eight years ago. When I met them, they had read a spec script and a script from The L.A. Complex, and they wanted to meet me from that. I’m a huge fan of shows like My So-Called Life and Friday Night Lights, and I told them, ‘I’m interested in doing a Fame that’s grounded and, as a parent, I’d love to watch too.’ I went off and wrote a pretty big bible. I wrote fast. I’m a pretty big fan of ensemble series, so I was excited. We sent in the script on the Friday and it was greenlit on the Monday and I was due three weeks after that.

I’ve been in development before, and it usually lasts at least a year if you’re lucky. So, when I took this on I figured I had time to get notes, do re-writes and see what happens.

Lara Azzopardi
Lara Azzopardi

Not only did they greenlight it, but they greenlit it for 30 half-our episodes.
Thirty episodes.

I’ve seen the first two, and you pack so much into those two episodes that it seems daunting to write 30. Was it daunting? How did you do it?
At the time, I didn’t know what I was in for and it was happening so fast. By the end of it—and we have three stories per episode—we wrote about 97 stories. That’s credit to my writing team Kate Hewlett, Lauren Gosnell, Matt Schiller, Scott Oleszhowicz and Jennifer Pertsch. I had my baby in my arms when we started the room and were breaking an episode a day, sometimes an episode and a half a day. We wouldn’t leave the room until it was done. The baby was in the writers’ room in a sling and we were breaking from 10 a.m. until, sometimes, midnight.

The reason for the rush, too, was that we wanted to get that Friday Night Lights look, which meant filming on location, which meant a real school … which meant we would only have the school from when it let out in the spring until it went back in for the fall. We shot using two crews at the exact same time in the same location shooting four episodes as a time. We filmed 30 episodes in 30 days. I have to give credit to the cast and crew; these kids had four scripts in their heads and once and the crew were passing the scripts between them.

At the end of the day, Backstage is a coming-of-age story for all of these kids. They are figuring out who they are until graduation and even then some of them might not know who they are.

Do the 30 episodes represent one year of studies at Keaton School of the Arts?

Let’s talk about working with the kids in your cast. I’m assuming not very many had acting experience?
We cast real dancers and real singers, so I think because they all had a discipline they had worked at, they brought a drive and professionalism with them. I was nervous because we were casting non-actors and had a crazy schedule. They were up for the challenge. We had two acting coaches on hand and had done an acting workshop beforehand and I was available anytime they needed.

I like the usage of the characters speaking to the camera, like a confessional.
That came from necessity and from creative. For me, it was backstage not only in these kids’ lives but also backstage in their heads. It’s what they’re really thinking and feeling. It allowed us to be very subtle when we’re in the moment in the show and that subtext is said in the confessionals. We shot all of the confessionals at the end of production.

We meet Vanessa and Carly right away and see the first day of school through their eyes. But they have a major fallout and are at odds. Will they become friends again?
It’s a journey. I have three daughters and I really tried to write a friendship in terms of how I’d love to react with my girlfriends or daughters. There are going to be arguments and I just hope we made a show where both girls are right and wrong. There will be lots of ups and downs.

Jax is an interesting character. You want to like him, but right now he’s an arrogant jerk.
Jax is someone who has had some success and then goes to a school where everyone is good and he’s not better. There is quite a journey that he goes through over the 30 episodes and he learns a lot about himself.

At the end of the day, Backstage is a coming-of-age story for all of these kids. They are figuring out who they are until graduation and even then some of them might not know who they are.

Backstage airs Fridays at 7 p.m. ET/PT on Family Channel.