Tag Archives: Simu Liu

CBC’s Kim’s Convenience hits its stride in Season 3

You can feel it when a television show has found its legs. The characters are relatable and unforced, funny but not feeling strained. That’s the state Kim’s Convenience is in as it rolls into Season 3. And why not? The CBC sitcom—returning Tuesday at 8 p.m.—has a legion of Canadian fans behind it and is expanding worldwide thanks to Netflix, Amazon and a recent deal that will see the award-winning program debut in Korea. (A fourth season has already been greenlit, meaning the Kims and their friends are sticking around for awhile.)

When viewers tune in on Tuesday, they’ll see Appa (Paul Sun-Hyung Lee) and Jung (Simu Liu) working together to right an Appa wrong before Umma (Jean Yoon) finds out. Spoiler alert: they don’t succeed. Meanwhile, Janet (Andrea Bang) is still fighting to be recognized as a bona fide artist and Kimchee (Andrew Phung) is the assistant manager at Handy Car Rental. The cast teased a bit of what this season has in store.

Over the last couple of seasons, Appa and Jung have come together on screen and they have been really big moments. Is it becoming more comfortable now, these two guys spending time together? The situation called for it in the first episode, and I feel as though there’s a softening towards each other. Is that the case?
Simu Liu: If you look at how Jung and Appa left off at the end of Season 2, it wasn’t necessarily a diffusing or anything. We certainly thought that there some sort of reconciliation in the works in the episode before, but then there’s a blow up that happens. It goes to illustrate that no family, no relationship like that is just going to repair itself because of one thing. The past is always going to influence how they are around each other.

I think that’s kind of the tone we’re going into the new season with. I think you will have moments where they’re together and it’ll be what it is, but it won’t be normalized.

Jean Yoon: They come together, they blow up. And they come together.

Paul Sun-Hyung Lee: You also see why they fight. When you see these interactions, you kind of go, ‘Oh!’ Because in Season 1, it’s like he ran away from home or he got kicked out. Why don’t they get along? I think that’s the by-product of seeing them sort of wanting to reach out. At the end of Season 2, you know there’s the desire’s there, but they just can’t do it…

SL: There’s so much history. It’s complicated.

JY: You see how much they are alike, and why as they come together and you get this friction.

PSHK: That’s the fun exploration of seeing that, ’cause it’s like, they’re together, you know they want to repair those things, that rift, but there’s just something fundamental about the makeup, because they are so similar to each other. They’re like magnets. Same poles.

Also, in the first episode back, Jung is faking that he’s going to the job, and then wanting to watch TV. It’s such a great storyline for a television show anyway, having the guy act like he’s been going to a job or school for months and months and months. 
SL: To be doing it so that, in part, because he doesn’t want to be embarrassed, of course. But in part also because he doesn’t want his best friend to feel bad about taking his job. I think he really starts the season in the lowest of the low moments.

What can you say about what Jung goes through this season?
SL: I mean, I can’t say too much. I think you see a little bit of it at the end of the first episode. It’s just him getting used to the fact that things aren’t going to be so easy for him. I think when we start in Season 1, it’s like by Episode 3 he’s the assistant manager. Dating seems to be not terribly difficult for him. Now it’s like, ‘No, you lost your chance with the girl that you really like. You lost your job. Your best friend’s the new assistant manager at Handy.’

Andrew Phung: You start seeing Kimchee and Jung’s relationship sort itself out, because there is a new balance between them. I think that was really fun. I think always in those early scripts, I see them, this is such an opportunity for us to see a switch in the character. To see the character evolve. We love seeing characters have highs and lows. We can see Kimchee’s high. He’s coming out, looking fresh, he’s multi-tasking. So you see that character change as well. That’s throughout the season.

It’s a real opportunity for this guy that’s been the laughing stock of the show in every scene for two seasons. I’m assuming that’s not going to totally change, but it is a great opportunity for him.
AP: Going back all the way to the first season. We were work-shopping the scenes. I was trying to figure out Kimchee, because I think [Paul and Simu] had a sense of … you knew your characters. You’d lived with your characters. Kimchee’s new. We came to this conclusion that Kimchee is a genius. He is the smartest guy in the room. He thinks he’s a genius. On the outside looking in, you’re like ‘What’s this guy doing?’ Kimchee’s like, ‘You’re an idiot for not thinking my way.’

It’s fun to see him evolve to now own this role of genius. Now he has power. He’s put it into the workplace, and just having the opportunity to play with Nicole [Power, as Shannon]. There are these wonderful scenes that we developed this relationship we never had. Now we’re peers in the workplace.

Jean, what about Umma and Appa?
JY: On the other side of the world, I think what happens in Season 3 that’s really satisfying is you see Umma and Appa, you see more facets of their relationship. These marital disputes that every couple has gone through. Power play, questions about division of labour and is equal the same as the same? No. Equal should mean I’m better. That kind of thing. Also, we see Appa and Jung and some really interesting episodes with Janet and some with Gerald and a lot of the characters that we’ve all come to love to visit the store…

PSHL: Pastor Nina, Mr. Mehta, Mr. Chin.

JY: Mr. Chin, Gerald, Chelsea, his girlfriend. Again, a lot of those themes seem to be about communication, about boundaries. The driving force is in the end, that you know no matter how bad the conflict is, that in the end, these characters really love each other. These are people who at the end of the day are going to somehow find it in the bottom of their souls to say they’re sorry. And they’ll mean it.

SL: We’re really hitting a comfort zone in our own work. Especially, I think about Andrew and I on our first day of Season 1, just coming to set and basically shaking as the camera’s rolling, because we were newcomers into the whole Kim’s Convenience world, and we just didn’t want to mess it up.

I think about how nervous we were and how anxious we were. How that followed through the entire first season and a bit into the second as well. But really I think what was different for me going into the third was I think you mentioned this confidence, this self-assuredness. But it was just, ‘OK, I have some idea of what this character is and what he does and why he thinks the way that he thinks.’ I feel like I can do the work. I feel like that really gives you room and permission to play and take risks. I think that’s when you get your best work in.

Kim’s Convenience airs Tuesdays at 8 p.m. on CBC.

Images courtesy of CBC.

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Vampires, a communist’s daughter and cosmetics-selling sisters seek 2018 IPF funding

It’s a year after our inaugural spotlight on web series seeking Independent Production Fund support, and the state of those series in Canada is booming. Projects like But I’m Chris Jericho, The Amazing Gayl Pile, Whatever, Linda, Space Riders: Division Earth and Inhuman Condition are just a few of the many that received IPF support in the past and have gone on to full-blown web and television series.

Established in 1991 to provide financial support for dramatic television series, the IPF was expanded in 2010 to include financing drama series for the web. That mandate has been extended indefinitely. The result? Dozens of trailers for potential projects have been posted on YouTube. Check them out here.

With a deadline of March 31 approaching, creators are looking for support via views and comments about their potential projects before the IPF makes their decision; in 2017 the IPF approved funding for 15 scripted series (10 in English and five in French); three were renewals for past projects with the other 12 being new ones. (One was My 90-Year-Old Roommate, starring Lauren Corber, Ethan Cole and Josh Schultz.)

Here are a few projects that caught our eye, as well as the links to some honourable mentions. Watch, click, comment and help them all gain funding!

 

The Series: Silver

The Creator(s): Simu Liu

The Idea: In the year 2025, a vampire named Reeve (Liu) works for a group called the Silver Corps—a paramilitary group charged with keeping vampires in check. Reeve ignores an order to kill a vampire child. Now his own organization is hunting them.

The Inspiration: Simu Liu has been looking to do something in the genre space for a long time. Inspired by the sci-fi and action projects he watched as a kid and a love of stunts, he combined them all into Silver. “When you attack something that is already out there and has been done, you want a fresh take on it,” he says. “Instead of having the vampires be these creatures that are respected and revered, they are the social outcasts and a stand-in for a lot of minority groups today and throughout history.”

The Plan: A 10-episode web series of 10 minutes each that Liu likens as a comic book on film: “A visually-driven story where every frame is beautiful.”

 

The Series: The Communist’s Daughter

The Creator(s): Leah Cameron

The Idea: Amid 1980s Canada, Dunyasha McDougald, the daughter of two Communists struggles with fitting in at high school and supporting her family’s beliefs.

The Inspiration: The Communist’s Daughter is loosely based on Cameron’s childhood: her father was a Communist during the 1980s. As a result—Cameron explains—the family car was a Lada, Soviet Life magazine was delivered to the door, and family vacations were to Cuba to “support the economy.” It was only looking back on her childhood that Cameron realized how odd—and funny—her life was. The trailer stars Jessica Holmes (Air Farce), Aaron Poole (Strange Empire), Bruce Novakowski (Inconceivable) and Hilary McCormack.

The Plan: Cameron’s creation will live on the web as 10- to 12-minute episodes; she’s got major plans for the family that takes advantage of a more serialized setup. “The father is going to run for election in a highly-embarrassing and highly public campaign,” Cameron says. “Which will make his daughter’s attempt to fit in at high school even harder and that needs a story arc.” Additionally, Cameron is excited to show Gen Xers and millennials who are interested in what Toronto looked like in the 1980s to actually see the city—and the diversity of its population—represented during that time.

 

The Series: Don’t Ask Alice (The Adventures of Collie and Doli)

The Creator(s): Connie Wang and Lakna Edilima

The Idea: Two millennials, Collie (Wang) and Doli (Edilima), offer new-age advice to fellow twentysomethings.

The Inspiration: Connie Wang and Lakna Edilima, friends since Grade 9 math class, weren’t getting the gigs (Wang in acting, Edilima in a writer’s room) in the Canadian TV industry they’d hoped for. After a night out cracking each other up, they decided to just create their own series. “Collie and Doli think they know everything,” Wang says. “At the time, Lakna and I thought we knew everything when we wrote it.”

The Plan: Season 1 of 12 webisodes of about five minutes each. Each one features a caller needing advice from Collie and Doli. The pair offer something outrageous to their caller … and then try out their own advice. “We find out that, ‘Oh, this doesn’t actually work.’ The moral of the story is, ‘Maybe I shouldn’t have called him that,’ or ‘Maybe I shouldn’t just assume that guys like that.'”

 

The Series: Beattie & Mae

The Creator(s): Melanie Leishman and Emily Coutts

The Idea: Two sisters, Beattie (Leishman) and Mae (Coutts), find themselves recruited by a competitive direct-sales cosmetics company in the fashion-and-feminism influenced world of 1997.

The Inspiration: The friends were commiserating over their shared past of being initiated by places and friends in multi-level marketing companies. The sales technique was ripe for humour, Leishman says, and the show grew from there while embracing feminism, relationships and the 1990s. “We get to the root of Beattie and Mae’s relationship and their relationship to the company,” Coutts says. The specific decade was chosen, Leishman explains, because it was before the Internet and recruitment changed to online. It also serves as a backdrop to two women coming of age.

“Feminism has come a long way in the last 20 years,” Leishman says. “The pop culture world of 1997 seemed like a hilarious place to set these two women as they try to figure out who they are in the big city for the first time.”

The Plan: An eight-episode web series of seven-minute instalments is the first step for Beattie & Mae, with a long-term goal of an adaptation for television. A main event occurs in each episode, Leishman says, with the focus on the sisters dealing with that incident differently.

 

Honourable mentions

The Motorcycle Project
Two half-sisters (played by Elise Bauman and Humberly González) go on a wild and crazy adventure across South America in search of the truth behind their sister’s mysterious death.

The Has Been
Amy Jo Johnson (Flashpoint), writes, directs and stars in this project about a bankrupt former A-list actress who attends ComicCon to raise the funds needed to pay off her debts.

What Got Did
Created by Grace Lynn Kung and Rob Shapiro, Paige Ho will stop at nothing to turn ParKer into the next great startup in Silicon Valley North. The only thing standing in her way? Pretty much everything.

Super Zee
An action comedy about a queer Black superhero (Sedina Fiati), who swoops in to save her woman crush (Christina Song), from microaggressions at the office.

Detention Adventure
A group of sixth graders get themselves put into detention so they can explore the tunnels under their school.

Swings
A mockumentary about two co-dependant best friends Kevin (Kevin Vidal) and Christian (Christian Smith) serving as the “swings” (musical understudies) for a giant Broadway-level production of Nickelback The Musical.

The After Party Girls
The partially true, completely embarrassing stories of best friends Jules (Cheyenne Mabberley) and Fiona (Katey Hoffman), who are determined to become popular and the life of the party.

Held
Megan Follows directs and Alanna Bale and Kristopher Turner both star in this psychological suspense series written by Alison Bingeman and based on Edeet Ravel’s novel.

The Six
Six inner city teens chase success in rap stardom, basketball fame, fashion design, drug running, self-worth and independence on the streets of Toronto.

Hospital Show
Follows the damaged actors and actresses who play doctors on Critical Condition. Created by and starring Adam G. Reid alongside co-stars Sara Canning and Adrian Holmes.

Ming’s Dynasty
Two Toronto rappers are stuck running a Chinese restaurant in smalltown Alberta. Will they chase the beats or the eats?

Queens
A peek at the drag scene through the eyes of an eclectic group of drag queens as they prep to compete in the “Miss Church Street Pageant.”

Image Killer
A gallows humour series about a serial killer who hunts down arrogant social media personas in the vein of Scream Queens meets Fargo.

Group
A dramatic comedy about the people involved in a goal-setting group at a big-city addiction research clinic.

 

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