Inside its sci-fi trappings — space travel, crazy technology, oodles of extraterrestrials — Pixar’s “Elio” is the story of an outsider kid who finds a new family. That’s true of the protagonist, a lonely boy who longs to leave Earth, and of the film itself.
“Elio’s” original mission was launched by Adrian Molina, co-writer of “Coco,” who worked on writing and directing the project for a couple of years before departing, officially to devote himself to “Coco 2.” Molina was replaced in “Elio’s” director’s chair(s) by Domee Shi, who helmed “Turning Red” and won an Oscar for her short “Bao,” and Madeline Sharafian, a story artist on “Coco” and story lead on “Turning Red.”
“The basic premise from Adrian’s beginning, five years ago, has stayed the same,” says Sharafian: “A lonely, weird little boy gets abducted by aliens and is mistaken for the leader of Earth. The biggest change we made, and everything rippled from there, was that Elio always wanted to be abducted by aliens, to find a place where he belongs.”
Shi says, “Both of us were weirdo kids in our respective hometowns who dreamed of not being the only one. I was one of the only kids in my school that liked anime. When I finally got into animation school, I was like, ‘I found my people, and I didn’t realize how much I wanted this.’ ”
One tectonic shift under Shi and Sharafian came from screenwriter Julia Cho, who co-wrote “Turning Red” with Shi: Instead of Olga (voiced by Zoe Saldaña) being Elio’s mom, she would be his aunt. Elio (voiced by Yonas Kibreab) would lose both parents before the film. That reconfigured his alienation, so to speak. A harsh confrontation between mother and child usually rests on the foundation that they already know and love each other. For an orphaned boy and his guardian aunt, that closeness must be earned.
“That love isn’t a given,” says Sharafian. “There was no assumption it would be there. So when it is, it’s all the more moving.”
“Elio” directors Domee Shi and Madeline Sharafian’s shared “visual language” reshaped the film after they took on the project from its initial director, Adrian Molina.
(Pixar Animation Studios)
Amid the changes, Shi and Sharafian say the working relationship they established on “Turning Red” was invaluable.
Shi says, “Though we have different backgrounds, we grew up watching a lot of the same movies. Both of us love Miyazaki films, we love ‘Sailor Moon,’ we love Disney, Pixar.”
Sharafian adds, “We speak the same visual language. There would be many moments when it was time to come up with a new shot and we both drew the same thing.”
In its 28 previous features, Pixar had dabbled in sci-fi, but “Elio” is immersed in it, with just a soupçon of … horror?
“We’re huge fans of sci-fi horror,” says Shi, “and we wanted to use those moments with Elio’s clone and Olga to have fun, to playfully scare some kids — and some adults too.”
That “clone” is a dead ringer for the protagonist, but it emerged from space goo and formed into an eerily cheerful version of the boy, like something from “Invasion of the Body Snatchers” or “The Stepford Wives,” but nice.
“The movies that impacted me the most as a kid, a lot of them did scare me, but they rewarded me as well,” says Shi. “Our film has this Spielberg-y, comfortable, nostalgic, family sci-fi vibe. So when the audience is at their most comfortable, that’s the perfect opportunity to give ’em a little spook.” Both directors cackle.
Sharafian adds, “ ‘Close Encounters’ is so scary, but in an amazing, tense way, and the musical [phrase] the aliens sent, I was so haunted by that. When we had the universe reach out to Elio, we were like, ‘How do we capture that same feeling — we want to know more, but we’re unsure of their intentions?’ ”
Beyond Steven Spielberg’s “Close Encounters of the Third Kind” and “E.T.,” the shared influences of the sci-fi horror of “The Thing” and “Alien” influenced their choice of a virtual anamorphic lens for their cinematography and aping the visual noise and atmospheric mist in those films.
Among the changes Shi and Sharafian made to “Elio” is its “epic” widescreen aspect ratio.
(Pixar Animation Studios)
Shi adds that they also changed the aspect ratio from 1.85 (standard widescreen) to 2.39:1 (anamorphic widescreen, an ultrawide look): “It helped shots of Elio on Earth feel more lonely, but also made space feel more epic.”
“To lay that on top of” Molina’s existing work, says Sharafian, “completely changed what the movie looked like.”
The directors agree that most of the film seamlessly blends their input, though Shi specialized in the horror and action sequences, while Sharafian leaned into the emotional scenes.
“A lot of Act 1 was you, Maddie,” says Shi, “where he’s feeling soulful and lonely. I love that. Yearning, watching the stars. I feel like that’s probably from your own childhood.”
Sharafian chuckles and says, “Yes, I was very lonely! My sister and I say we had ‘rich inner lives’ because we didn’t have a lot going on outside.”
It’s not “Up”-level gut-wrenching, but the scenes establishing the heartbroken boy’s lingering trauma hit pretty hard.
“I feel like it’s good to be sad,” says Sharafian. “At Pixar, we’re lucky; we get to stay in a childlike headspace for a really long time. I think we forget how deep children’s emotions are and how, when you’re young, you’re already thinking about very sad things and dark things. So I don’t think it’s too much.”
The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema
By Paul Fischer Celadon Books: 480 pages, $32
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Paul Fischer showed “Jaws” to his daughter when she was 10. She wasn’t scared. In fact, she loved it so much that she dressed as Richard Dreyfuss’ Hooper for Halloween. To Fischer, who watched “Raiders of the Lost Ark” at age 4 (“I remember the melting heads but I don’t think I was traumatized”), it shows the staying power of some of the ’70s blockbusters.
“It’s the flip side of how these franchises became so massive and had such a long tail,” he said in a recent video call with The Times, discussing how each generation still finds “Star Wars,” “Raiders,” “E.T.,” “Jaws” and “The Godfather.” “They’ve created films that endured and that overshadow others.”
The narrative then follows their journeys from the late ’60s through the early ’80s, filling in the “ecosystem” the trio came up in and how they wanted to change the system to gain creative autonomy. Spielberg worked within the system, Coppola spent lavishly and even ostentatiously to build his own studio and Lucas found his independence through a quieter, more conservative and technology-driven route.
(Martin Scorsese, who was friends with the three and “the most interesting human being of that generation of filmmakers,” gets plenty of ink but was not a titular character, Fischer said, because he remained an outsider who just wanted to make movies, not change the system.)
“I’m not going to pretend I can tell you what was going on in their heads but I tried to make people feel like they were there when it happened,” Fischer said.
While none of the three men would be interviewed, Fischer had decades of quotes and conducted his own interviews with hundreds of people in the filmmakers’ orbits to get a fuller and more honest story. (He added that their representatives were uniformly helpful with fact-checking and providing photos. “There was never a door closed on me,” he said in an accidental reference to the final scene of “The Godfather.”)
Coppola, “who changed quite a bit, was the hardest one for me to pin down,” Fischer said. “There are layers of complexity to him and his willingness to treat the creative life as if it’s an experiment.” Blending that with his self-indulgent philandering and spending of money, he added, “you can change your mind about that guy every five minutes.”
During that era at least, Fischer said Lucas and Coppola seemed ”completely devoid of any self-awareness.” He chronicles how Coppola pressured Lucas to accept changes to his first feature, “THX 1138,” so the studio would release it while Lucas viewed that as Coppola pushing him to sell out. Meanwhile, Lucas was pushing Coppola to do a studio film for hire to keep his fledgling Zoetrope Studio afloat, making Coppola feel pressured to sell out. (That movie was “The Godfather,” so it worked out OK for Coppola.)
“They keep giving each other advice about how to do things and then betray that same advice when it applies themselves,” he said, although he added that he doesn’t “whip them for 300 pages for having giant egos,” and said it’s part of the recipe to be a visionary filmmaker, especially in the Hollywood studio system.
Ultimately, the book depicts Lucas as more of a sellout, acting like the studio suits he once detested as he pressures “The Empire Strikes Back” director Irvin Kershner to make changes, often based on budget and then focusing more on profitability as he conjured up characters like the Ewoks for “Return of the Jedi.” Fischer doesn’t believe Lucas would recognize that version of himself in the book. “He’s someone who lost his BS detector and has drunk his own Kool-Aid.”
In Fischer’s telling, the creative and business sides are interwoven and inseparable from each other and from the personal relationships — their friendships and rivalries with each other but also their relationships with those who worked for them or loved them.
“They were all able to do what they did because of wives or partners or friends or college classmates, who did a lot of the work without being household names,” he said. To fully tell the story, he devotes plenty of narrative space to Coppola’s wife Eleanor, and his most prominent mistress, Melissa Mathison, who later wrote “E.T.,” producer Kathleen Kennedy, who co-founded Amblin Entertainment with Spielberg, and Lucas’ wife, Marcia, who edited the first “Star Wars” trilogy (and Scorsese’s “Taxi Driver”).
“How did these guys break through? Well, they were middle-class white dudes and these women looked after some of this stuff they couldn’t,” Fischer said. “Those aren’t the only reasons these guys became who they did but without that, they probably [wouldn’t have].”
Fischer celebrates the three men’s vision and talents — he calls “The Godfather” “a perfect film” and says Spielberg “speaks the language of a camera better than anybody else”— but the book makes clear how often they got lucky or were saved from themselves.
If Coppola had spent his money more judiciously, he might not have done “The Godfather;” Lucas resisted hiring Harrison Ford to play Han Solo as well as Ford’s creative contributions; and if someone had bankrolled the first feature film Spielberg pitched before latching onto “Jaws” — “a sex comedy San Francisco Chinese laundry riff on Snow White” — it could have sunk his career.
Additionally, Lucas and Coppola’s friendship frayed when the latter snatched back the directing gig for a film he had long ago promised to his buddy. “But imagine George Lucas making some weird low-budget, ‘Battle of Algiers’ version of ‘Apocalypse Now’ in the back streets of Sacramento,” Fischer said. “That sounds pretty crappy. And we would have lost one of the great, novelistic experiential movies that we have.”
Lucas, meanwhile, dangled his idea for “Raiders of the Lost Ark” before Spielberg’s eyes, then told him that Philip Kaufman had dibs. “He’s a fine director but we would have lost something there too,” Fischer said. “There are these crossroads there but still there has got to be something special about these three or they couldn’t have had repeated successes like they did.”
Writing about their failures, foibles and frustrations did not lessen the hold that these three men and their movie magic have on Fischer. He recounts a story of his own connection to one film with undisguised delight and enthusiasm. After graduating film school at USC, he was producing a documentary (“Radioman”) in New York when he learned that “Indiana Jones and the Kingdom of the Crystal Skull” was doing some filming in Connecticut. “Obsessed,” he finagled his way onto the set and into a job. “All I did was turn off the air conditioning,” he said. “‘Roll camera,’ I flip it off. ‘Cut,’ I turn it on. I did that for four days. But when Harrison Ford walked by wearing that jacket, I was 5-years-old again. That was cool.”
Miller is a freelance writer in Brooklyn who frequently writes about movies.
NORTH CHARLESTON, S.C. — This state was such a lost cause for Bernie Sanders the last time he ran for president that the candidate stopped coming here in the crucial stumping days before the 2016 primary election. He got crushed, losing by 47 percentage points.
So the Rev. Al Sharpton on Wednesday morning found himself doing a double take to be here, of all places, introducing the Vermont senator at his candidate breakfast as the nationwide Democratic front-runner.
“Many never thought ‘Bernie Sanders’ and ‘front-runner’ would be in the same sentence,” said Sharpton, the civil rights activist whose blessing is eagerly sought as Democratic candidates seek inroads with black voters.
At a time when Sanders’ rivals are in a full state of panic over his momentum and have shifted from ignoring the democratic socialist to putting all their energy into trying to stop him, they are particularly alarmed by the traction he has been getting in this state, where some 60% of Democratic primary voters are African American.
It reflects the depth and durability of the Sanders coalition, which has exploded in size with his success.
“The question black folks in the South were asking before was: ‘Who is Bernie Sanders?’” said Justin Bamberg, a South Carolina lawmaker and civil rights attorney supporting Sanders. “Now, it is not ‘Who is Bernie Sanders?’ It is ‘Why not Bernie Sanders?’”
Sanders may not win here in South Carolina; the latest polls continue to show Joe Biden winning and holding the largest share of African American voters. But there’s little question that Sanders has drawn substantially more support from black voters this time around than four years ago. His message hasn’t shifted at all. His appeal to nonwhite voters has.
“We have come a long, long way” in South Carolina, Sanders told a raucous crowd at a rally here Wednesday.
Hillary Clinton and Bernie Sanders debate in January 2016 in Charleston, S.C. Sanders lost the state by 47 percentage points that year.
(Timothy A. Clary / AFP-Getty Images)
Only 53% of black voters nationwide had a favorable view of Sanders at this point in the last presidential race, according to Gallup, nearly 30 percentage points lower than for opponent Hillary Clinton. But a recent NBC News/Wall Street Journal poll found black voters this cycle just as inclined to vote for Sanders as for any other candidate — a turnabout from months ago, when the same poll had Sanders far behind.
In South Carolina, the Sanders campaign absorbed the lessons of the senator’s flop here in 2016. In the intervening years, Sanders and surrogates have returned to the state again and again, visiting its small towns and urban centers, knocking on doors, networking with local officials, just listening. In this state, politics is as much about who you know as what you know. And the Sanders operation got to know a lot of communities.
“He has learned from his mistakes,” said Antjuan Seawright, a South Carolina political consultant not aligned with any candidate in the primary. “He’s learned how to engage, how to prioritize certain communities, where to make investments. His team on the ground has figured out where votes are and who they can activate.”
The success Sanders has had in the few states that have voted already also plays big, but that momentum only goes so far. Sanders learned that in 2016, after his shellacking of Clinton in New Hampshire did nothing for him here and in other Southern states. And Pete Buttigieg, the former mayor of South Bend, Ind., is learning that lesson anew as he struggles to translate strong showings in Iowa and New Hampshire into votes in the South.
The Sanders campaign and Our Revolution, the progressive organization launched by his backers, never stopped building infrastructure here after 2016. They doubled down on efforts to reach potential voters who weren’t politically engaged. The Sanders staff here is twice the size it was in 2016. At this point in that election cycle, Sanders had just five endorsements from state lawmakers here. Now he has racked up at least 36.
At his rally Wednesday, Sanders boasted that his campaign has knocked on 200,000 doors in South Carolina this cycle.
As rival campaigns pursue consultant-driven strategies centered on ads, news releases and press conferences designed to cast doubt on Sanders’ ability to go the distance, the senator’s grass-roots approach has been drawing in voters like Rebecca Bentley.
Bentley didn’t vote for Sanders in 2016; she didn’t vote for anyone. “I didn’t have any political views,” she said. “I was completely uninvolved.”
The 29-year-old who has been on Medicaid much of her life and has also lived in federally subsidized housing was inspired to register to vote by Sanders’ agenda on healthcare and other social programs.
“It really resonated with me that someone was actually listening,” said Bentley, who described herself as Hispanic and Native American.
It is a familiar story in this state, where the Republican leadership refused to participate in the expansion of Medicaid that was offered to states by the Affordable Care Act.
“The issues Sanders is talking about are resonating here,” said Bruce Ransom, a political science professor at Clemson University. “The Trump administration is talking about how well the economy is doing, and folks here are not doing that well. They are living in a state where the Medicaid expansion did not take place. Many of them would like to make $15 an hour,” as Sanders is proposing for the minimum wage.
As rivals focus intensely on branding Sanders as unelectable in November, many voters aligning with him for the first time are seeing just the opposite.
Among them is Dawn Pemberton, who supported Hillary Clinton in 2016 and is now all in for Sanders.
“That moderate, middle box just doesn’t seem to be working for our country,” said Pemberton, 48, who recently left a job in real estate.
Gerry Elliot also supported Clinton in 2016. “My more pragmatic head took over,” he said. “I thought Hillary could win. I didn’t think Sanders could win.”
Now, the 51-year-old pastry chef is not so sure. He is wavering between Sanders and Massachusetts Sen. Elizabeth Warren. “I’m looking for something different,” he said. “I just want change in the status quo.”
Biden’s poor showing in the states that have voted so far has some voters reconsidering their initial instinct to align with a pragmatist establishment candidate who had seemed best equipped to beat Trump.
“A former vice president, particularly one under Barack Obama, should not be getting crushed in any state,” Bamberg said. “You should not be getting blown out. People here have eyes and ears. They see it. They want someone they feel can win long term.”
So some voters in South Carolina are giving Sanders a fresh look.
The campaign officials and volunteers who in 2016 would encounter a voter already aligned with Hillary Clinton at nearly every door they knocked on tell a very different story now. Sanders is just as much a household name.
Actor Kendrick Sampson, an Angeleno and Texas native who was here campaigning for Sanders in 2016, said he understood the skepticism voters had at the time.
“You don’t come into Texas talking about nothing — I don’t care how much I agree — if we don’t know or trust you,” he said. “Especially if you are not from Texas. People [in South Carolina] just didn’t know who he was.”
Sampson is back again talking to voters at their houses, at barbershops, in restaurants, and the reception is different. “Now they know who he is, and they know his brand,” Sampson said. “And now they trust him.”
At the time of her diagnosis, Sally’s on-screen persona, Sally Metcalfe, was also grappling with a breast cancer diagnosis, mirroring her real-life ordeal.
Sally confessed that her diagnosis “completely changed her life.”, reports the Daily Star.
She reminisced: “My character had breast cancer and I had to tell Carla Connor (played by Alison King) that Sally had breast cancer. That was a very, very difficult scene because I knew I was leaving at that point.”
The actress revealed: “I wanted to carry on working. I didn’t want to stop, but the moment that I was told I needed chemo that’s the moment that I realised that actually this is serious.
“But hopefully for Bev, she’s caught this early so she will be hopefully back at work and carrying on doing what she’s doing.
“It’s very hard for women because if you’re a working mum and the breadwinner, then you want to carry on. You need to be working.”
In an emotional revelation, Sally confessed that her character’s storyline proved instrumental in prompting her to seek medical examination.
She said: “I’ve still not come to terms that it happened and maybe if I hadn’t had the storyline, maybe I wouldn’t have checked because I was only 46.”
She went on: “I thought it was, you know, much older women but it’s not. I mean thank goodness there’s much more information out there now than there was 15 years ago when I got it. But now we’re talking about it, which is very important.”
She recalled: “I remember my first day back on the street after having eight months off or six months off and walking down the cobbles and going.
“I am so grateful for this because once you have something taken away from you. You think that’s it, and then to get it back is just, wow, I mean, you don’t take it for granted.”
Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX and Loose Women airs weekdays from 12:30pm on ITV1 and ITVX
**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**
Forget dating apps and blind dates, one couple found love halfway across the world
Nicki Challinger met her husband, Tony Kern, half way across the world(Image: Handout)
In today’s society, dating apps have become the go-to for meeting new people and starting romantic connections. But for one couple, their love story started halfway across the world, after a chance encounter, when they least expected it.
Looking for an adventure, Nicki Challinger packed her suitcase and headed to the airport to embark on a 10-day trip around Southeast Asia, stopping in Thailand and Laos. At 31, working as a freelance translator, Nicki was seeking thrills. She booked the trip through Flash Pack, a tour company offering adventures for solo travellers in a small group of a similar age.
This meant that rather than a trip dedicated to 18-30s or one catering to the over 50s, Nicki could enjoy a group tour that suited her age perfectly – avoiding the late-night club outings but ditching early nights! But little did she know she’d meet her husband, Tony Kern, almost the moment after she touched down in Thailand, during their first group meal.
“There was a group dinner the first night, and I was just coincidentally seated next to him. We had a lot in common, he asked a lot of questions about me, and we shared the same sense of humour,” Nicki exclusively told the Mirror.
“He was really sweet, and he was just so genuine – a really open and kind guy.” Over the course of their trip in November 2018, they went whitewater rafting, cycling and treks, including one through a jungle.
Nicki sweetly recalled one day when they floated down the Mekong River on a boat as they crossed the border into Laos. “We had been getting on, and we were just chatting for hours while sitting at this little table, and just watching the beautiful scenery. It was without the pressure, as we were just hanging out, as everyone else in the group was.”
As sparks began to fly, they got closer, but as Tony, who was 32 at the time, was from the US and Nicki from the UK, they didn’t think it would go anywhere outside of the trip. It wasn’t until day eight of their tour that they knew it was something special.
“We went for a walk around this little town that we’d stopped in on the Mekong, and it was late at night, so all the stars were out, and it was sort of really romantic. That’s when I thought, ‘I can see this going somewhere’, and I did think we might kiss at the end of that night,” Nicki recalled.
“But then there was a pack of wild street dogs and I’m terrified of them. I don’t like dogs when they’re on a lead, so street dogs in Laos, I was not feeling it. He didn’t kiss me that night, so I was like, ‘Oh, maybe he doesn’t feel it.’ And then the next day, when we talked about it, he said, ‘Yeah, it just didn’t seem like the right moment.'”
They later had a conversation while at a resort overlooking the Mekong River and said it wasn’t just a holiday romance but something serious. That’s when they shared their first kiss.
As their relationship began, the tour inevitably came to an end. Yet that wasn’t going to stop the newly formed couple, despite being thousands of miles apart. Nicki had stayed in Thailand for a month to work on an island, while Tony travelled back home to the US.
They kept in contact and spoke on the phone a lot, while battling a 13-hour time difference for a month. But after spotting affordable flights to the US just two weeks after meeting, Nicki later jetted off to meet Tony at his home in Kansas City.
She said they had a “great time” together in the US, and after that, went back and forth to see each other. Then, as the COVID-19 pandemic hit, Nicki made the quick decision to go back over to the US, just days before they shut the border, and stayed there for three months.
“In hindsight, it was quite a good practice for real married life, and we went for nice walks in the evening,” she shared. Then, in April 2021, the couple got engaged in the US, the evening before Nicki’s birthday, “It was relaxed but romantic”.
Just a few months later, in November 2021, they joyfully tied the knot during an intimate ceremony in the US before returning to the UK for a bigger wedding party in July 2022. Here, they had eight of their friends from the tour attend, two of whom also sparked up a relationship on the trip, and now have a baby together.
Talking of their love story, Nicki said: “It was unexpected, none of us were looking for a relationship, we just went on the tour for an adventure. It was life-changing. Everything had lined up like the dates of the trip and the discount – it just worked really well logistically, and then I met my husband. People are always so surprised.”
They had both used Flash Pack to book trips in the past, but never thought their 2018 adventure would lead to love. “I was not bothered at all. I just wanted to see some of Thailand, and I didn’t want to do it by myself,” Nicki said. It was also the first time this specific tour had ever run, which Nicki said meant “everybody on the trip had the same, relatively relaxed mindset.”
After maintaining a visa, Tony, now 40, moved to the UK in November 2022, and today, they happily live in Nottingham. While they’ve known each other for around eight years, Nicki, now 38, confessed: “Theoretically, the language is the same, but I would say it’s still probably about once a week where one of us says something, and the other is like, ‘I literally have no idea what you’re saying’.”
Do you have a travel story to share? Email webtravel@reachplc.com
How did a gay hockey romance made by a little-known Canadian streamer become a global cultural phenomenon?
The answer, as it turns out, was by leaning into female and queer audiences. Since the debut last November of “Heated Rivalry,” which chronicles the clandestine love story between two fierce hockey rivals, the drama series from Bell Media’s Crave has emerged as an unlikely success story, defying a broader industry trend of media consolidation and waning commitments to diversity in Hollywood.
The mastermind behind the show’s success is Jacob Tierney, who read author Rachel Reid’s “Game Changers” series during the COVID-19 pandemic and then optioned all of the books after reading a Washington Post story about the proliferation of romance novels. After writing a pilot on spec, he approached the executives at Crave — where he had previously produced “Letterkenny,” “Shoresy” and “Canada’s Drag Race” — about green-lighting a series. From the outset, the gay writer-producer had a clear idea of how he wanted to adapt the “smutty” story for TV, starting with casting relative newcomers Hudson Williams and Connor Storrie as Shane Hollander and Ilya Rozanov, respectively.
“Jacob was very open to our feedback, but his common [refrain] back to us was, ‘We need to be true to the source material because the built-in fan base will expect certain things from us, and that includes the appearances of these actors and their ages,’” says Justin Stockman, Bell Media’s VP of content development and programming. “He’s like, ‘We found them. These are the people from the book.’ And that’s where we had to trust him.”
Brendan Brady, Tierney’s producing partner through their Accent Aigu Entertainment banner, notes that the Canadian TV model diverges from the American one, in that the producer retains ownership of the IP while collecting a licensing fee from the broadcaster. To fund the series, Tierney and Brady reinvested their personal fees to cover about 10% of the budget, while another 30% was sourced from tax credits. This included the Canada Media Fund, a resource derived from government and industry contributions that national broadcasters can allocate at their discretion. The rest of the financing usually comes from third parties.
But Tierney recalls that the notes from potential financiers did not align with his creative vision. Some wanted to delay the graphic depictions of gay sex and expand the world to include more characters. Someone even suggested introducing Rose Landry (Sophie Nélisse) earlier and putting her in a love triangle with Shane and Ilya, because they believed “this show won’t work without a female entry point,” Tierney recalls. Ultimately, Bell Media opted against a co-financier, instead covering the remaining costs through its new distribution branch, Sphere Abacus. But, Brady says, the budget was still “far south” of CA$5 million (approximately $3.6 million) per episode. “It’s so much less than that, it’s almost silly,” Tierney adds.
Sean Cohan, an American executive who worked at A&E Network and Nielsen before being appointed president of Bell Media, does not think “Heated Rivalry” could have been made in the U.S. For starters, “green-lighting” stateside is a “slower” process; Tierney could have been stuck in development hell for years. The show also contains numerous Canadian references — cottage country, loons, McGill University — which would have not made sense outside of the Great White North.
From left, stars Connor Storrie and Hudson Williams, creator Jacob Tierney and executive producer Brendan Brady on the set of “Heated Rivalry.”
(Sabrina Lantos)
For his part, Tierney doesn’t believe that “Heated Rivalry” would have even been made at another Canadian network or streamer. “There’s lots of ways to put your fingers in and get them sticky and screw things up, and these executives wanted the same show that we wanted to make and they supported us 100%,” he says. Those executives were so confident in the show’s success that they decided to move up the premiere date from February to late November to take advantage of the increase in viewership around the holidays. The accelerated release schedule meant that Tierney delivered his cut of the Season 1 finale a week and a half before it aired.
At the time of our interview, Tierney was already trying to break the story for Season 2, which he and Brady say will not premiere until spring 2027. “As much as I appreciate how rabid and interested people are at this point, the first season worked because I trusted my gut with this, and I’m going to do that again,” Tierney says.
Like the audience, Bell Media executives are waiting with bated breath for the next chapter of “Heated Rivalry.” And given that Accent Aigu has optioned all of the “Game Changer” novels (including Reid’s forthcoming “Unrivaled”), everything is on the table — more episodes or seasons, one-off specials, maybe even a spin-off. “We’re open to anything that keeps the quality where it was, but also brings our show back as quickly as we can,” Stockman says. (HBO Max will not be involved financially and remains merely a distributor.)
Tierney declines to reveal whether he will split “The Long Game” into one or two seasons, but he volunteers that he does not see himself making more than six episodes per season. “I don’t need to do 10. I would always rather tighten the belt than get loosey-goosey,” says Tierney, who will have a co-writer for Season 2 but continue to direct all the episodes himself. “I would rather be like, ‘Let’s see how much story we can pack into these episodes.’”
“We want everybody to be left yearning,” Brady adds. “That’s what everybody loves about this show. Less is more!”
“Heated Rivalry” may center on Shane and Ilya, but there will “absolutely” be “diversions” to other characters in the canon. “Just like you can’t tell the story without Scott Hunter, you can’t really tell the story without Troy Barrett,” Tierney says, alluding to a character from Reid’s books who is yet to appear in the TV series. And while there may be a lot more incoming calls about higher-profile casting, he adds, “We need Canadian talent, and we love Canadian talent. It’s not a burden, but it’s also something we literally have to do to get our financing.”
For Cohan, “Heated Rivalry” is valuable proof of concept as he attempts to convince more Canadian creators to return to their roots, regardless of where they now live in the world. “It certainly helps to feel like we’ve got a dramatic illustration, a data point — a pretty good one too — to say, ‘Yeah, look, we Canadians, not just Bell, can make great, global and profitable [shows], and we can do it by being authentic,’” Cohan says.
