GLOBAL ANNOUNCED TODAY that it was renewing Da Kink in My Hair, The Guard, and The Best Years -- that's right -- the show that was previously a late season scratch.
I'm in outline hell and entertaining a rambunctious relation, so no analysis from me there. But Bill Brioux spins it rather handily over on his digs.
And he actually talks intelligently about the numbers. Imagine such a thing!
Thursday, March 20, 2008
Wednesday, March 19, 2008
Nobody Calls My Baby Ugly!
(VANCOUVER) A Canadian Television Producer was shocked, shocked! today to find out that shows occasionally get canceled. "I blame Baal," the remorseful Producer said. "Oh, and the lack of promotion, which is a real, really big problem. And faeries. Which are also real and seriously fuck things up, proper, too."
When reached for comment, the CBC stated unequivocably "as far as we know, faeries are no more real than all those extra J-Pod viewers who would have come out in droves if only we'd had more spots."
Sigh. Kids, you really, really don't do it like this. No wonder so much of the public doesn't care. Why can't more Producers do it like this?
Anybody else thinking that maybe it's time somebody set J.B. Sugar and Jeff Seymour up? I think those kids would really hit it off.
When reached for comment, the CBC stated unequivocably "as far as we know, faeries are no more real than all those extra J-Pod viewers who would have come out in droves if only we'd had more spots."
Sigh. Kids, you really, really don't do it like this. No wonder so much of the public doesn't care. Why can't more Producers do it like this?
Anybody else thinking that maybe it's time somebody set J.B. Sugar and Jeff Seymour up? I think those kids would really hit it off.
Tuesday, March 18, 2008
Canwest Global Takes A Major Step Forward At Banff
A VERY INTERESTING announcement came through this morning from the Banff TV Festival:
It's not hard to find cynicism on this blog. I try to be positive as much as I can without being polyanna, but it's just been so difficult to do that. So an announcement like this comes out and one has to simply say: Well done, Canwest.
This is the right program, the right way to organize it, at the right time.
Canwest Global has slowly been trying to rebuild the years of cynical distaste it earned in the eyes of the creative community, where it spent very little on development. This isn't going to fix the problems like shows that bounce around the schedule, or shows that are underfunded, but it does make a couple of bold steps in a positive direction.
The Emerging Writers Program is a bit of a build toward things we've seen before. Both the NSI and the CFC train new writers. And let's face it, the real problem in this country hasn't been helping new writers to get their first job. There always seems to be some job scheme to encourage that -- it's the second, and third job, that moves someone up the ladder of experience that sometimes seems unattainable. But to run these programs in tandem is a very, very positive thing.
This also builds upon a worthy Apprenticeship opportunity that Canwest Global began last year at Banff, where they sponsor a new writer to work in a story department as an apprentice for four weeks. Sounds like this may be a refinement of that idea.
What's eminently practical about this approach is that Canwest seems to have fully embraced the idea of what makes for a well-run show. Giving shows to new writers is not the answer. Neither is allowing for the continued split of writers who are subordinate to non-writing producers who -- if they're not careful -- commit to changes that seriously affect the quality of the show without knowing how or why. But giving new writers a way to see how the job works by allowing them on-the-job experience, and empowering more senior writers to act as fully vested creative partners in a show will simply result in better shows. It's almost a miracle -- a bold, wonderful miracle -- to actually hear a Canadian network admit this.
This may not buy a pass for all the realities yet to come. But it shows that someone is thinking about the real issues in the Canadian industry.
A couple weeks ago, people grumbled a bit at Canwest's submission before the CTF hearings at the CRTC. Today, Canwest had a much, much better day.
I held off to end of day to see if the applications would be put online. So far they're not. But when they are, presumably you'll be able to access them on the Banff2008 site.
Deadline for submitting to these new programs is April 18th.
It has been a particularly brutal few months for the creative side of the Canadian TV industry, with new obstacles seemingly flung onto shoulders that could barely support the weight of all the nonsense that had come before.The Banff World Television Festival and Canwest partner to support the Canadian television industry with the launch of two ground-breaking programs
TV Creative Executive Tecca Crosby named Director of the Canwest Emerging
Writers and the Canwest Showrunner Training programs
TORONTO, March 18 /CNW/ - The Banff World Television Festival and Canwest
announced today two programs that aim to build a solid foundation for the
development and future success of innovative home-grown television series. The
Canwest Emerging Writers Program and the Canwest Showrunner Training Program -
developed to enhance, nurture and encourage writers and producers to grow the
television series business in Canada - will launch at the 29th Banff World
Television Festival, taking place at the Fairmont Banff Springs Hotel in
Alberta, Canada, June 8 - 11, 2008.
"We are very excited to announce this extraordinary initiative that will
have its launch at BANFF, a pre-eminent industry event," says Barb Williams,
Executive Vice President, Content, Canadian Broadcasting. "Canwest is
committed to growing the television series business in Canada, and this
partnership with the Banff World Television Festival will ensure that the
country's most talented writers and producers remain working in the Canadian
broadcasting industry."
The Canwest Emerging Writers Program offers Canadian screenwriters the
unprecedented opportunity to gain significant insight into the demands of
writing for series television. Up to five writers will participate in a
professional development program that will help them hone their creative
skills and introduce them to a wide range of industry professionals working in
series television. The successful applicants will be invited to attend the
Banff World Television Festival where they will have access to all events
offered at BANFF as well as attending seminars, pitch sessions and master
classes designed especially for them. After the festival, they will meet with
story teams working on existing Canadian series productions to better
understand the workings and expectations of writing on Canadian series.
The goal of the Canwest Showrunner Training Program is to better position
Canada's television writers to take on the responsibility of the showrunner.
Up to ten experienced series writers will be chosen to participate in a
program that will provide further insight into producing series television
from the best in the business, both here and from abroad. Successful
candidates will have their own shows to pitch at the Banff World Television
Festival. Additionally, they will have the opportunity to attend master
classes and be part of case study sessions with renowned showrunners. At the
end of the program, these writers will travel to Los Angeles for a week to
meet with a variety of story teams on existing US series.
The winners will be selected by a Jury consisting of three jurors: Tecca
Crosby, Director of the programs, a representative from Canwest, and one
representative from the Banff Television Festival Foundation.
Tecca Crosby began her career at Saturday Night magazine where she worked
as assistant to the editor, then head researcher and finally as an associate
editor. In 1986 she went to the newly formed Ontario Film Development
Corporation as the senior development officer, and in 1992 assumed the post of
Executive Coordinator, Production and Development with direct responsibility
for numerous feature film and television production investments, including
such titles as Exotica, Million Dollar Babies, and Dance Me Outside. From 1995
to 1998, Tecca worked as a freelance production consultant. During that time -
as story editor in residence at the Canadian Film Centre - she helped
establish the Professional Screenwriting Programme and also worked with Susan
Coyne and Rhombus Media to create and develop the acclaimed television series
Slings & Arrows. In 1998 Tecca went to work at CTV as director of dramatic
programming, where she supervised the development slate for original Canadian
drama and worked as a production executive on a variety of award-winning
movies, miniseries and dramatic series. Tecca is currently an independent
production executive.
"We are thrilled that someone of Tecca's calibre will be at the helm of
these programs," says Jennifer Harkness, Executive Director, BANFF. "The
knowledge she brings will enrich the experience for participants, providing
incredible access to some of the top creative minds in television today."
It's not hard to find cynicism on this blog. I try to be positive as much as I can without being polyanna, but it's just been so difficult to do that. So an announcement like this comes out and one has to simply say: Well done, Canwest.
This is the right program, the right way to organize it, at the right time.
Canwest Global has slowly been trying to rebuild the years of cynical distaste it earned in the eyes of the creative community, where it spent very little on development. This isn't going to fix the problems like shows that bounce around the schedule, or shows that are underfunded, but it does make a couple of bold steps in a positive direction.
- First, it positions Banff as a festival that isn't about sellers talking to sellers, or the establishment talking to the establishment, as it's sometimes seemed in the past.
- Second, it boldly sketches out, and buys into the idea of the writer-showrunner, the hands-down best model for generating quality drama series. It helps to promote the bridge from experienced writer to showrunner.
- It allows, finally, for a view of professional development that does not proceed from tax credits and the deal first. It acknowledges the fundamentally central position of the creative as the heart of the development process.
The Emerging Writers Program is a bit of a build toward things we've seen before. Both the NSI and the CFC train new writers. And let's face it, the real problem in this country hasn't been helping new writers to get their first job. There always seems to be some job scheme to encourage that -- it's the second, and third job, that moves someone up the ladder of experience that sometimes seems unattainable. But to run these programs in tandem is a very, very positive thing.
This also builds upon a worthy Apprenticeship opportunity that Canwest Global began last year at Banff, where they sponsor a new writer to work in a story department as an apprentice for four weeks. Sounds like this may be a refinement of that idea.
What's eminently practical about this approach is that Canwest seems to have fully embraced the idea of what makes for a well-run show. Giving shows to new writers is not the answer. Neither is allowing for the continued split of writers who are subordinate to non-writing producers who -- if they're not careful -- commit to changes that seriously affect the quality of the show without knowing how or why. But giving new writers a way to see how the job works by allowing them on-the-job experience, and empowering more senior writers to act as fully vested creative partners in a show will simply result in better shows. It's almost a miracle -- a bold, wonderful miracle -- to actually hear a Canadian network admit this.
This may not buy a pass for all the realities yet to come. But it shows that someone is thinking about the real issues in the Canadian industry.
A couple weeks ago, people grumbled a bit at Canwest's submission before the CTF hearings at the CRTC. Today, Canwest had a much, much better day.
I held off to end of day to see if the applications would be put online. So far they're not. But when they are, presumably you'll be able to access them on the Banff2008 site.
Deadline for submitting to these new programs is April 18th.
I Guess Now We See
A FEW YEARS ago a set was released with the "Great Speeches of the 20th Century." I enjoyed listening to the oratory, and the important exchanges that were first recorded onto wax, then cylinders, then tape and disc. Speeches crafted like that, to inform, to inspire, to convince -- they're rare things.
America has an interesting history with the word. On the one hand, there are some of the most remarkable, poetic documents ever to outline the rights of free people, as embodied in the Constitution and the Declaration of Independence, which, of course, were documents drafted to be read aloud in the public square.
Lincoln is remembered today not just for what he did, but also for the way he said it. The beauty of that marvel of brevity, the Gettysburg Address. The solemn and dignified 2nd inaugural address, given a month before he died, which seems to call out from then across the gulf of time to the nation that was to be.
We've reached a point now with our reaction dials, and insta polls and tracking technology, where the key is to say as absolutely little as possible. The packaging of politics has been co-opted by the same marketing strategy that sells the shoes on your feet or the swoosh on your back.
And then Barack Obama goes and does a hell of a thing in Philadelphia.
"A More Perfect Union." could be one of those speeches. It's worth reading again and again, and marveling at the courage of it. Because he doesn't back away or engage in the ritual that we've come to wearily expect. He decided to roll the hard eight.
It will be incredibly interesting to see how America responds.
The full text of Obama's speech on Race in America, is here.
Time Magazine's analysis is here.
America has an interesting history with the word. On the one hand, there are some of the most remarkable, poetic documents ever to outline the rights of free people, as embodied in the Constitution and the Declaration of Independence, which, of course, were documents drafted to be read aloud in the public square.
Lincoln is remembered today not just for what he did, but also for the way he said it. The beauty of that marvel of brevity, the Gettysburg Address. The solemn and dignified 2nd inaugural address, given a month before he died, which seems to call out from then across the gulf of time to the nation that was to be.
We've reached a point now with our reaction dials, and insta polls and tracking technology, where the key is to say as absolutely little as possible. The packaging of politics has been co-opted by the same marketing strategy that sells the shoes on your feet or the swoosh on your back.
And then Barack Obama goes and does a hell of a thing in Philadelphia.
"A More Perfect Union." could be one of those speeches. It's worth reading again and again, and marveling at the courage of it. Because he doesn't back away or engage in the ritual that we've come to wearily expect. He decided to roll the hard eight.
In the end, then, what is called for is nothing more, and nothing less, than what all the world's great religions demand -- that we do unto others as we would have them do unto us. Let us be our brother's keeper, Scripture tells us. Let us be our sister's keeper. Let us find that common stake we all have in one another, and let our politics reflect that spirit as well.
For we have a choice in this country. We can accept a politics that breeds division, and conflict, and cynicism. We can tackle race only as spectacle -- as we did in the O.J. trial -- or in the wake of tragedy, as we did in the aftermath of Katrina -- or as fodder for the nightly news. We can play Reverend Wright's sermons on every channel, every day, and talk about them from now until the election, and make the only question in this campaign whether or not the American people think that I somehow believe or sympathize with his most offensive words. We can pounce on some gaffe by a Hillary supporter as evidence that she's playing the race card, or we can speculate on whether white men will all flock to John McCain in the general election regardless of his policies.
We can do that. But if we do, I can tell you that in the next election, we'll be talking about some other distraction. And then another one. And then another one. And nothing will change.
That is one option. Or, at this moment, in this election, we can come together and say, "Not this time." This time we want to talk about the crumbling schools that are stealing the future of black children and white children and Asian children and Hispanic children and Native American children. This time we want to reject the cynicism that tells us that these kids can't learn; that those kids who don't look like us are somebody else's problem. The children of America are not those kids, they are our kids, and we will not let them fall behind in a 21st century economy. Not this time.
It will be incredibly interesting to see how America responds.
The full text of Obama's speech on Race in America, is here.
Time Magazine's analysis is here.
Me and My Perfect Radio Face
THERE WERE FOUR eagle-eyed emails, so congratulations to them.Indeed, I can reveal to one and all how yours truly made a cameo last night on THE BORDER as Dr. Edwin DeSoto, some nefarious nuclear physicist.
Which is all the more thrilling since I barely passed Grade 10 Bio. Mr. Balogh would be so pleased.
This should settle once and for all the debate of which side of the camera I'm destined to be on.
However, this was not my first appearance on the CBC. Oh no. There's that deep dark episode of Hangin In from the 1980's, and I believe I danced in a cage on a CBC sketch show once.
But now I'm a scientist. Wait til I tell Ma.
Mad props to the props people.
Next week's penultimate episode of The Border comes courtesy of the talented (and deeply creepy) mind of Sarah Dodd. It's a doozy.
Monday, March 17, 2008
Sticks on the Noms
IN LIGHT OF the story below about the 2008 Nominations for the Canadian Screenwriting Awards, I thought I would provide y'all with a link to some of the stories where I've mentioned the nominated shows. Some are reviews, some are tangential things about the show, but, you know, you wanna kick the tires there, go ahead.
Across The River To Motor City
Afghanada
Corner Gas
Durham County
Intelligence
Normal
Robson Arms
This Hour Has 22 Minutes
Across The River To Motor City
Afghanada
Corner Gas
Durham County
Intelligence
Normal
Robson Arms
This Hour Has 22 Minutes
2008 Canadian Screenwriting Awards Nominations
CALL IT THE Luck of the Irish, but I notice there's good news for many of my hardworking keyboard punters who happen to share a certain... Emerald persuasion... this morning.
You don't have to be Irish to write Canadian TV. But I think the race memory of humiliation and stubbornness doesn't hurt...
The official press release has just gone out from the WGC, so the weeks of loose-lipping can end. Here's the list of the 33 Finalists, in 9 Categories, for the Canadian Screenwriting Awards.
To download a list of the nominees, click here.
***
DRAMA SERIES 1/2 hour
Corner Gas “Gopher It”
Written by Mark Farrell
Corner Gas “Seeing Things”
Written by Mark Farrell & Robert Sheridan
Robson Arms “Misery Inc.”
Written by Daegan Fryklind
DRAMA SERIES 1hour
Across the River to Motor City “Happy Birthday Mr. President”
Written by Denis McGrath & Robert Wertheimer
Durham County “What Lies Beneath”
Written by Laurie Finstad Knizhnik
Intelligence “Down But Not Out”
Written by Chris Haddock
Sabbatical “Pilot Episode”
Written by Peter Mitchell
FEATURE FILM
Normal
Written by Travis McDonald
Poor Boy’s Game
Written by Chaz Thorne & Clement Virgo
The Green Chain
Written by Mark Leiren-Young
The Stone Angel
Written by Kari Skogland
MOW or MINISERIES
Dragon Boys
Written by Ian Weir
Shades of Black
Written by Andrew Wreggitt
The Robber Bride
Written by Tassie Cameron
CHILDREN OR PRESCHOOL
Captain Flamingo “Max Invader, Scourge of the Universe”
Written by Suzanne Bolch & John May
Captain Flamingo “Everybody Was Tofu Fighting”
Written by Vera Santamaria
Dinosapien “Electricity”
Written by Thérèse Beaupré
Iggy Arbuckle “Petition Impossible”
Written by Kenn Scott
Ruby Gloom “Yam Ween”
Written by Carolyn Bennett
DOCUMENTARY
China’s Sexual Revolution
Written by Miro Cernetig & Josh Freed
Dubai: Miracle or Mirage?
Written by Ted Remerowski
Jonestown: Paradise Lost
Written by Jason Sherman
Toxic Trespass
Written by Barri Cohen
RADIO DRAMA
Afghanada “Episode 12”
Written by Jason Sherman, Adam Pettle & Greg Nelson
Afghanada “Episode 35”
Written by Greg Spottiswood
Afghanada “Remembrance Day Special”
Written by Greg Nelson and Adam Pettle
Early Newfoundland Errors
Written by Ed Riche
VARIETY
History Bites Special “The Separatists”
Written by Rick Green, Duncan McKenzie
The Hour Has 22 Minutes XV “Episode 3”
Head Writer: Jennifer Whalen /Written by Mark Critch,
Gavin Crawford, Gary Pearson, Kyle Tingley, Jennifer
Whalen, Albert Howell, Tim McAuliffe, Nathan Fielder, Geri
Hall, Andrew Bush, Dean Jenkinson
This Hour Has 22 Minutes XIV “Episode 17”
Head Writer: Kevin White /Written by Kevin White, Mark
Critch, Irwin Barker, Gavin Crawford, Gary Pearson, Jennifer
Whalen, Carolyn Taylor, Albert Howell, Dave Nystrom, Geri
Hall, Todd Allen, Tim McAuliffe
YOUTH
Naturally Sadie “In or Out of Africa”
Written by Brent Piaskoski
renegadepress.com “Blackout”
Written by Sara Snow
renegadepress.com “The Third Wheel”
Written by Jordan Wheeler
***
The Awards will be held at Brant House in Toronto on April 14, 2008, and will be hosted by This Hour Has 22 Minutes' Gavin Crawford. For tickets, more information on the awards, and sponsorship info, check the WGC site.
On a personal note, I'm really pleased to see so many of my friends getting the nod for the sweat and toil I remember you putting in.
(A special shout out to the redoubtable Travis McDonald, screenwriter of Normal, who suffered terrible abuse at the hands of Multiple Den(n)ises on Blood Ties, and Mark Leiren-Young, who was also on BT, and is nominated for his film The Green Chain. Oh, and also to my soon-to-be-story-room colleague Greg Nelson, for Afghanda)
I judged one of the early rounds (Ahem...for a category I didn't submit to, thanks for asking...and yes, all the scripts are judged anonymously) and I found the overall quality of the scripts to be really, really good overall this year. (That hasn't always been the case.)
When I first started this, I hardly knew any of the nominees. Now there's very few I haven't met. And for those few, I hope to remedy that come April.
To all the nominees, whether you're Irish, or simply wish you were, Slainte to each and every one of yous. See you next month!
And to my Intrepid agents at Meridian Artists, I must say: thanks for the lovely bottle of the quality. You sure know how to bring the craic!
You don't have to be Irish to write Canadian TV. But I think the race memory of humiliation and stubbornness doesn't hurt...
The official press release has just gone out from the WGC, so the weeks of loose-lipping can end. Here's the list of the 33 Finalists, in 9 Categories, for the Canadian Screenwriting Awards.
To download a list of the nominees, click here.
***
DRAMA SERIES 1/2 hour
Corner Gas “Gopher It”
Written by Mark Farrell
Corner Gas “Seeing Things”
Written by Mark Farrell & Robert Sheridan
Robson Arms “Misery Inc.”
Written by Daegan Fryklind
DRAMA SERIES 1hour
Across the River to Motor City “Happy Birthday Mr. President”
Written by Denis McGrath & Robert Wertheimer
Durham County “What Lies Beneath”
Written by Laurie Finstad Knizhnik
Intelligence “Down But Not Out”
Written by Chris Haddock
Sabbatical “Pilot Episode”
Written by Peter Mitchell
FEATURE FILM
Normal
Written by Travis McDonald
Poor Boy’s Game
Written by Chaz Thorne & Clement Virgo
The Green Chain
Written by Mark Leiren-Young
The Stone Angel
Written by Kari Skogland
MOW or MINISERIES
Dragon Boys
Written by Ian Weir
Shades of Black
Written by Andrew Wreggitt
The Robber Bride
Written by Tassie Cameron
CHILDREN OR PRESCHOOL
Captain Flamingo “Max Invader, Scourge of the Universe”
Written by Suzanne Bolch & John May
Captain Flamingo “Everybody Was Tofu Fighting”
Written by Vera Santamaria
Dinosapien “Electricity”
Written by Thérèse Beaupré
Iggy Arbuckle “Petition Impossible”
Written by Kenn Scott
Ruby Gloom “Yam Ween”
Written by Carolyn Bennett
DOCUMENTARY
China’s Sexual Revolution
Written by Miro Cernetig & Josh Freed
Dubai: Miracle or Mirage?
Written by Ted Remerowski
Jonestown: Paradise Lost
Written by Jason Sherman
Toxic Trespass
Written by Barri Cohen
RADIO DRAMA
Afghanada “Episode 12”
Written by Jason Sherman, Adam Pettle & Greg Nelson
Afghanada “Episode 35”
Written by Greg Spottiswood
Afghanada “Remembrance Day Special”
Written by Greg Nelson and Adam Pettle
Early Newfoundland Errors
Written by Ed Riche
VARIETY
History Bites Special “The Separatists”
Written by Rick Green, Duncan McKenzie
The Hour Has 22 Minutes XV “Episode 3”
Head Writer: Jennifer Whalen /Written by Mark Critch,
Gavin Crawford, Gary Pearson, Kyle Tingley, Jennifer
Whalen, Albert Howell, Tim McAuliffe, Nathan Fielder, Geri
Hall, Andrew Bush, Dean Jenkinson
This Hour Has 22 Minutes XIV “Episode 17”
Head Writer: Kevin White /Written by Kevin White, Mark
Critch, Irwin Barker, Gavin Crawford, Gary Pearson, Jennifer
Whalen, Carolyn Taylor, Albert Howell, Dave Nystrom, Geri
Hall, Todd Allen, Tim McAuliffe
YOUTH
Naturally Sadie “In or Out of Africa”
Written by Brent Piaskoski
renegadepress.com “Blackout”
Written by Sara Snow
renegadepress.com “The Third Wheel”
Written by Jordan Wheeler
***
The Awards will be held at Brant House in Toronto on April 14, 2008, and will be hosted by This Hour Has 22 Minutes' Gavin Crawford. For tickets, more information on the awards, and sponsorship info, check the WGC site.
On a personal note, I'm really pleased to see so many of my friends getting the nod for the sweat and toil I remember you putting in.(A special shout out to the redoubtable Travis McDonald, screenwriter of Normal, who suffered terrible abuse at the hands of Multiple Den(n)ises on Blood Ties, and Mark Leiren-Young, who was also on BT, and is nominated for his film The Green Chain. Oh, and also to my soon-to-be-story-room colleague Greg Nelson, for Afghanda)
I judged one of the early rounds (Ahem...for a category I didn't submit to, thanks for asking...and yes, all the scripts are judged anonymously) and I found the overall quality of the scripts to be really, really good overall this year. (That hasn't always been the case.)
When I first started this, I hardly knew any of the nominees. Now there's very few I haven't met. And for those few, I hope to remedy that come April.
To all the nominees, whether you're Irish, or simply wish you were, Slainte to each and every one of yous. See you next month!
And to my Intrepid agents at Meridian Artists, I must say: thanks for the lovely bottle of the quality. You sure know how to bring the craic!
Oh, and only an Eejit Drinks Green Beer
The Irish are the only men who know how to cry for the dirty polluted blood of all the world.
-NORMAN MAILER
The English and Americans dislike only some Irish--the same Irish that the Irish themselves detest, Irish writers--the ones that think.
-BRENDAN BEHAN
-NORMAN MAILER
The English and Americans dislike only some Irish--the same Irish that the Irish themselves detest, Irish writers--the ones that think.
-BRENDAN BEHAN
Sunday, March 16, 2008
Blind Item Bingo
FROM TIME TO time, you hear things. These things are different than the conversations you have with friends in the industry where they tell you something, and then immediately get the panicked look on their face and say, "You can't..."
I've gotten really good at this, now. I interrupt and skip straight to "I'm not going to write about it on the fucking blog!"
You don't get very far in this biz burning friends, after all. Bu then there are the other kinds of conversations. These are the rumors that float around out there, that come from not one privileged source, but from seemingly a whole lot of directions at once. They're out in the ether, they're getting talked about...but since there's no official word ... well, they're just gossip.
Well, that's when it's time for the Blind Item.
So, here's a few rumours floating around the Canadian industry. I've had at least three conversations about each of these things in the last two weeks.
WATER WINDFALL?
Could it be that Global's THE GUARD is getting a life preserver?
A very experienced writer/showrunner will be taking over the writing room on Global's Coast Guard show for its second season. Scuttlebut has it that the weather wasn't the only thing causing squalls in Squamish during the show's first season. If true, it's a great move for the sophomore drama. Said showrunner has a history of retooling shows on the fly and making them work...
FUNNY BUSINESS FREE AGENT?
Could one of the top comedy writers in the country be temporarily sans gig? This writer's had his hands in at least three of Canada's biggest comedy programs. Which network's going to win the race and be smart enough to snap up a new show from a guy with that kind of laffer pedigree? If this was the U.S., the deal would already be in Variety...
PA, THE BARN'S ON FIRE.
In the first of our 'what's next for CBC?' items...Remember how a few years back half of CBC's comedy shows seemed to be set or coming out of Newfoundland? Well, if rumours about upcoming pickups are true, Calgary's the new Rock. Fans of horsies and ten gallon hats should be pleased.
DON'T CRY FOR ME J-POD?
Even as the dust settles around J-Pod's cancellation by the CBC, the talent rises. The two screenwriters left standing at season's end have already been snapped up by other shows. Canada often plays fast and loose with locking up options for their actors for subsequent seasons. Imagine if the need to option writers comes next? Producer say: "How dare you not wait at home for our call?" Reached for comment at home, every writer in the country had this comment: "we're freelancers, dude."
AMERICAN EYES
If you read the Globe yesterday, you might have caught actor Eric Peterson's pointed comments about the drift in Canadian financing of TV. Now comes word that both the CTV shows picked up by the US nets are undergoing changes driven by the American partners. (The degree of the changes to the shows are disputable. But isn't everything?)
MAYBE IT WAS PINING FOR THE FIELDS?
Could it be that a show on one of the Canadian private networks that was confirmed dead might actually have just been tired and shagged out after a prolonged squawk?
AND TOGETHER THEY FIGHT CRIME
In the second of our 'what's next for CBC?' items, comes this shocker: could the good grey CBC actually be strongly considering a pickup for a ... gasp ... high concept show?
If you believe the rumors, CBC is said to be thisclose to greenlighting a show whose concept can be pitched in a sentence. The show's got huge female appeal. This is wonderful news, of course, since longtime readers of the blog will know that Getting High Concept was one of my 10 Things That Could Make Canadian TV Better. (scroll down to #9.)
AND THEN THERE'S THIS.
Eww.
I've gotten really good at this, now. I interrupt and skip straight to "I'm not going to write about it on the fucking blog!"
You don't get very far in this biz burning friends, after all. Bu then there are the other kinds of conversations. These are the rumors that float around out there, that come from not one privileged source, but from seemingly a whole lot of directions at once. They're out in the ether, they're getting talked about...but since there's no official word ... well, they're just gossip.
Well, that's when it's time for the Blind Item.
So, here's a few rumours floating around the Canadian industry. I've had at least three conversations about each of these things in the last two weeks.
WATER WINDFALL?
Could it be that Global's THE GUARD is getting a life preserver?
A very experienced writer/showrunner will be taking over the writing room on Global's Coast Guard show for its second season. Scuttlebut has it that the weather wasn't the only thing causing squalls in Squamish during the show's first season. If true, it's a great move for the sophomore drama. Said showrunner has a history of retooling shows on the fly and making them work...
FUNNY BUSINESS FREE AGENT?
Could one of the top comedy writers in the country be temporarily sans gig? This writer's had his hands in at least three of Canada's biggest comedy programs. Which network's going to win the race and be smart enough to snap up a new show from a guy with that kind of laffer pedigree? If this was the U.S., the deal would already be in Variety...
PA, THE BARN'S ON FIRE.
In the first of our 'what's next for CBC?' items...Remember how a few years back half of CBC's comedy shows seemed to be set or coming out of Newfoundland? Well, if rumours about upcoming pickups are true, Calgary's the new Rock. Fans of horsies and ten gallon hats should be pleased.
DON'T CRY FOR ME J-POD?
Even as the dust settles around J-Pod's cancellation by the CBC, the talent rises. The two screenwriters left standing at season's end have already been snapped up by other shows. Canada often plays fast and loose with locking up options for their actors for subsequent seasons. Imagine if the need to option writers comes next? Producer say: "How dare you not wait at home for our call?" Reached for comment at home, every writer in the country had this comment: "we're freelancers, dude."
AMERICAN EYES
If you read the Globe yesterday, you might have caught actor Eric Peterson's pointed comments about the drift in Canadian financing of TV. Now comes word that both the CTV shows picked up by the US nets are undergoing changes driven by the American partners. (The degree of the changes to the shows are disputable. But isn't everything?)
MAYBE IT WAS PINING FOR THE FIELDS?
Could it be that a show on one of the Canadian private networks that was confirmed dead might actually have just been tired and shagged out after a prolonged squawk?
AND TOGETHER THEY FIGHT CRIME
In the second of our 'what's next for CBC?' items, comes this shocker: could the good grey CBC actually be strongly considering a pickup for a ... gasp ... high concept show?
If you believe the rumors, CBC is said to be thisclose to greenlighting a show whose concept can be pitched in a sentence. The show's got huge female appeal. This is wonderful news, of course, since longtime readers of the blog will know that Getting High Concept was one of my 10 Things That Could Make Canadian TV Better. (scroll down to #9.)
AND THEN THERE'S THIS.
Eww.
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