Tag Archives: Tassie Cameron

Link: Tassie Cameron and Sherry White talk Pretty Hard Cases Season 1

From Heather M. of The Televixen:

Link: Tassie Cameron and Sherry White talk Pretty Hard Cases Season 1
Pretty Hard Cases delivered a nailbiter, bonkers, and completely entertaining finale that left us all warm and fuzzy about not just our dynamic duo, but also maybe also the pairings of Sam and Naz, Jackie and Elliot, and a scoche less warm but definitely fuzzy Duff and Nate. Continue reading.

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Pretty Hard Cases: Sherry White and Meredith MacNeill preview Season 1

Sherry White and Meredith MacNeill are no strangers to CBC. White’s most recent project for the network was as director, executive producer and writer for Little Dog. MacNeill, meanwhile, has just come off five seasons as co-creator, writer, producer and star of Baroness Von Sketch Show. Now the two have paired for one of the most entertaining new series on the network, Pretty Hard Cases.

Debuting Wednesday at 9 p.m. on CBC, MacNeill stars as Sam Waszowski, a guns and gangs detective—and single mom—who finds herself teamed with drug squad detective Kelly Duff, played by Adrienne C. Moore (Orange Is the New Black). Together, the pair are trying to take down a neighbourhood gang dealing drugs and weapons. Co-created by White and Tassie Cameron—who previously worked together on Rookie BluePretty Hard Cases is notable not only for its tone but its focus: telling the stories of two women in their 40s.

We spoke to Sherry White and Meredith MacNeill about the first season of Pretty Hard Cases.

Sherry, can you give me the background on how the show came about? Did you and Tassie Cameron keep in touch over the years and say ‘Let’s try and find something together’?
Sherry White: Tassie and I worked on Rookie Blue together and I was on that from the first season until the end. We got really close during the making of that. We moved on to do other things and there was a couple of times when people approached me with, ‘Could I take on some young writer’s cop show and try and help elevate it.’ Somebody came to Tassie and said it, and I’m like, ‘If there’s a demand for this, why don’t we do this ourselves?’ and really reflect more where we are now in our career. Rookie Blue is more about the early days of these characters and their careers.

This show is more about women who are in their 40s, who had given it all to their career and are finding themselves a little wanting for a full life. They’ve sacrificed a lot of their own personal goals in order to have their career, which is totally where Tassie and I were. We wanted to reflect our friendship and we wanted to reflect where we were in our careers and that sort of, what next? How else do we get a full life? We also wanted to have fun. We wanted it to be more in this sort of Paul Feig kind of… the ways he can celebrate women and be really raw and honest and funny about whatever situation they’re in, and I think we accomplished that with the show.

Meredith, did Sherry or Tassie come forward and say, ‘Hey, listen, we’ve got this character for you.’ How did you end up playing the role of Sam?
Meredith MacNeill: I was approached by Sherry and Tassie for the role, so I didn’t have to audition. When I was talking to Sherry about the role, I remember the absolute shock and pleasure and being completely thrilled.

How did you decide how you were going to play Sam? Did you have to learn how to rein her in a little bit?
MM: I was really fortunate to have Sherry and Tassie, who knew my work from Baroness. Actually, there was a lot of freedom on the floor. When I got the part, we talked a lot about, in terms of the physicality and the part, and the part was really on the page. I didn’t have to deviate much from that. In terms of feeling free to do whatever I wanted to bring to it, Sherry and Tassie, I would say, they were my rein-ers. Sherry directed some episodes and because she knew my work so well and we had such a great trust I’d be like, ‘I’m going to do this.’ And she’s like, ‘Great. Do it.’ In terms of reining in my physicality, Baroness and Pretty Hard Cases are such different shows, so the way it used my physicality was a bit different.

Sherry, how tightly scripted is Pretty Hard Cases?
SW: That was one of the major questions we had going into this because we knew we wanted them to find their way and all that stuff but as everyone knows, improv can get unwieldy and we didn’t want to have 65-minute episodes. We found a really good system where we mostly stuck to the text and certainly, for all the procedural stuff, there’s not a lot of improv room in that. You need just the facts, you need what that content was. In the more personal scenes, there was a lot more play and we would always allow for [Meredith] to, once we nailed it, just go. Just do something else if you wanted to play. I would say it was mostly not improvised, but definitely, enough to bring a special flavour that Meredith and Adrienne would bring themselves.

The relationship between Sam and her son is fascinating. Can you talk about how complicated this relationship is going to be as we see this first season roll out?
MM: It’s going to be extremely complicated. Sam is desperate for attention and the love and respect of her son. I’m a single mom and my daughter’s only 10 and I’m starting to feel like she would rather be with her friends. So imagine that amplified. And then Percy [Hynes White] is incredible to play opposite of. We had good chemistry as well, so we were finding a lot about the relationship as it was going. One of Sam’s big storylines for the show is her relationship with her son. It gets pretty exciting.

SW: And again, because loneliness is a theme in this show, there is nothing more lonely than being a single mother about to be an empty nester.

MM: I was so grateful because it’s been my therapy because it’s going to happen to me. I used to call Sherry and sometimes I’d just start crying at the thought of it.

Sherry, what can we expect to see in Season 1?
SW: The core of the series is Sam and Kelly building a friendship, finding a friendship despite their differences and relying on each other, and finding this common ground as they are working together. They’re dealing with the main neighbourhood gang. But then, through that, they have personal stories that develop and challenge their professional life and vice versa. It’s a lot of fun. I think every episode brings a lot of laughs and also it can get pretty sad sometimes.

Pretty Hard Cases airs Wednesdays at 9 p.m. on CBC.

Images courtesy of CBC.

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Global’s Mary Kills People checks in one final time

Back in 2017, Caroline Dhavernas was proud that the debate over doctor-assisted suicide would be the focal point of Mary Kills People. The Canadian government, at that time, has just deemed it legal with Bill C-14, thrusting Mary Kills People into the spotlight.

Now, with the final season of Global’s drama premiering this Sunday at 8 p.m. ET/PT on the network, Dhavernas is just as proud as she was when we first spoke about Tara Armstrong’s creation.

“Tara wrote this when she was in her late 20s, early 30s and I think it was a brave choice to tackle death and make it interesting and funny and sexy and thrilling and serious and dramatic and all that,” Dhavernas said, in the midst of a media day for the series. “When you go to a network with a subject that’s assisted dying, chances are they’re going to say to you, ‘It was nice to meet you, but no thanks.’ But she made it happen.”

In Sunday’s return, it’s been five months since the Season 2 finale. Mary (Dhavernas), Des (Richard Short) and Nicole (Charlotte Sullivan) are running a hospice, the perfect opportunity to help terminally-ill patients exit the world and not worry about the authorities catching them. Of course, before the hour is complete, things seem to be careening out of control. But rather than spoil it for you, just make sure you tune in. 

And, to prep you for Sunday, read our interview with Dhavernas.

Obviously, people are sad that the third season is going to be the last one, but I’m happy, and I think a lot of fans are, that we’re going to get closure. Have you all felt the same way?
Caroline Dhavernas: I was just dealing with the same thing while we were making Season 3. We knew it was going to be the end. So closure is indeed happening and, also, we get to tell the end of the story, which you don’t always get to do. We knew exactly what was happening and we got to say goodbye properly and end the show on our terms, so it’s quite empowering.

I’ve seen the first episode and we’re thrown quite the twist. I guess it should have been a little bit expected because this is Mary Kills People, but it’s a great way to jump back into Season 3.
CD: Yeah, I didn’t see it coming when I read it the first time. I was surprised by what happened and I thought the same thing, ‘I should have known because this is what I do on this show.’ For some reason, because it was about faith and because of her new life I thought, ‘What’s happening? Is she grappling with religion, but no.’

It looks as though this final season is going to be full of twists and turns.
CD: Every episode of this show is quite dense with action and emotion and Season 3 is going to be the same. And it’s a little more character driven, though, this season. Season 2 was really crazy, like the criminal world with Olivia and I think that will have been the season where we dive into the illegal aspect of what she’s doing the most. It’s an exciting season because also it takes place in winter for the first time, so the visuals are quite different and also water has always been an underlying theme on the show and now water has frozen over and it just brings another mood to the series.

I love the atmospheric stuff when you’re working with the seasons because it really adds character to the show and is actually like a member of the cast in telling the story.
CD: I think it forced us to rethink certain aspects of the show. And this happened because I was pregnant last summer and we couldn’t shoot so we were forced to reinvent a little bit, so it’s interesting.

Were you happy with the way that the show ended? Do you think that fans are going to be happy with the series finale?
CD: I think so because we care for these characters and we want them to know that they’ll be OK when we leave them forever. And I think you’ll certainly get a sense of that happening towards the end. It’s been very dense and very stressful at times, what they’re going through. And I’m not going to tell you how it ends, but certain characters will finally be able to calm down a little bit.

What are you most proud of being involved in this show? For me, it’s just the fact that assisted death has been brought to the forefront and is part of the discussion. What about for you?
CD: Yeah, I think it’s a very brave subject matter to tackle, especially from such a young woman’s point of view. Tara wrote this when she was in her late 20s, early 30s and I think it was a brave choice to tackle death and make it interesting and funny and sexy and thrilling and serious and dramatic and all that. Because when you go to a network with a subject that’s assisted dying, chances are they’re going to say to you, ‘It was nice to meet you, but no thanks.’ But she made it happen. It was a bit of a coincidence that the law was changing in Canada in the summer that we decided to shoot. It was kind of in the air for some reason and she made it work and the tone is quite unique, and that’s one of the other things that I’m quite proud of, being part of that uniqueness.

Last question. Did you take any mementoes from your time at Mary Kills People?
CD: Yes, actually I kept some of Mary’s clothes and … a medallion from the goddess of death, an Egyptian goddess, I think. I’m very happy to have been able to keep that.

Mary Kills People airs Sundays at 8 p.m. ET/PT on Global.

Images courtesy of Corus.

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Global announces ensemble cast in new medical drama Nurses

From a media release:

Global announced today casting details for new original drama Nurses (working title), a coming-of-age story centered around the lives of five rookie nurses. From Canadian broadcaster and production partner Corus Entertainment, with Entertainment One (eOne) and ICF Films, in association with Piazza Entertainment, the serialized, character-driven drama (10×60), from the team behind Rookie Blue, features a stellar ensemble cast of young talent including Tiera Skovbye (Riverdale), Natasha Calis (The Posession), Jordan Johnson-Hinds (Blindspot), Sandy Sidhu (Home Before Dark) and Donald MacLean Jr. (Workin’ Moms). With production underway in Toronto, the new drama will premiere in 2019 on Global.

Set in Toronto, the series follows five young nurses working on the frontlines of a busy downtown hospital, dedicating their lives to helping others, while struggling to help themselves. Grace Knight (played by Skovbye), is a young nurse looking for a fresh start, until someone from her past turns up who could jeopardize her career;  Ashley Collins (played by Calis), is a wild and unapologetic adrenaline junky who lives for the fast pace of the hospital; Keon Colby (played by Johnson-Hinds), is a former college football star who’s trying to prove he’s more than he was on the field; Nazneen Khan (played by Sidhu), is a whip-smart daughter of a wealthy family in India who moved to Canada to reinvent herself and is now starting her first job ever; and Wolf Burke (played by MacLean Jr.), is soft hearted and playful, but with a secret that may find him in over his head.

Stationed in every tendril of a busy downtown trauma centre and thrust into frontline medical action, Nurses sees five recent graduates beginning their careers in a high-stakes hospital with pressure cooker training. Forming an inextricable bond, the nurses struggle to find a work-life balance that matches and counters the intensity of their new job. Their interaction with patients, relatives, and staff quickly leads them to the discovery that nursing isn’t just about biology, chemistry, and anatomy, it’s also about psychology, compassion, and romantic complications.

Nurses 
is produced by ICF Films, eOne in association with Piazza Entertainment and Corus Entertainment, with the participation of the Canada Media Fund and the Canadian Film or Video Production Tax Credit. eOne handles international distribution on the series. Executive Producers are Ilana Frank (Saving Hope, Rookie Blue), Linda Pope (Saving Hope, Rookie Blue), Vanessa Piazza (Lost Girl, Dark Matter), Adam Pettle (Burden of Truth, Saving Hope) Jocelyn Hamilton (Mary Kills People, Ransom) and Tassie Cameron (Mary Kills People) with Julie Puckrin (Killjoys, X Company) as Co-executive Producer.

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Global greenlights new primetime medical drama Nurses

From a media release:

Adding to its acclaimed roster of Canadian original series, Global proudly announces new primetime medical drama Nurses (working title), set to premiere on the network in 2019. From independent studio Entertainment One (eOne), the 10×60 series is executive produced by Ilana Frank (Rookie Blue), of ICF Films and Vanessa Piazza (Dark Matter) of Piazza Entertainment, with Adam Pettle named as writer, showrunner, and executive producer, and Tassie Cameron serving as executive producer. The series follows four young nurses working on the frontlines of St. Jude’s hospital dedicating their lives to helping others, while figuring out how to help themselves.

Stationed in every tendril of a busy downtown trauma centre and thrust into frontline medical action, Nurses sees four recent graduates beginning their careers in a high-stakes hospital with pressure cooker training. Forming an inextricable bond, the nurses struggle to find a work-life balance that matches and counters the intensity of their new job. Their interaction with patients, relatives, and staff quickly leads them to the discovery that nursing isn’t just about biology, chemistry, and anatomy, it’s also about psychology, compassion, and romantic complications.

Nurses executive producer, Ilana Frank, appears today on the Corus Entertainment-sponsored panel, The Future of Scripted: Women in Power Tell All. Hosted at the Four Seasons Hotel in downtown Toronto, the panel takes place during C21 Media’s Content Canada conference, a part of TIFF’s industry offering. With opening remarks from Corus’ Executive Vice President and COO, Barb Williams, and moderated by Divya Shahani, Entertainment Lawyer, Hall Webber LLP, the featured panelists are: Ilana Frank (Rookie Blue, Nurses), Sheila Hockin (Vikings), Tassie Cameron (Mary Kills People), Julia Sereny (Ransom), and Alex Zarowny (Private Eyes). For more information visit www.contentcanada.net.

This newly greenlit series comes on the heels of Global’s recent renewals for Ransom, Mary Kills People, Private Eyes, and Big Brother Canada.

Nurses is produced by ICF Films, in association with eOne and Corus Entertainment, with the participation of the Canada Media Fund and the Canadian Film or Video Production Tax Credit.Facebooktwitterredditlinkedinmail