executive

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.

President Donald Trump has announced an executive order to allow victims of the Los Angeles wildfires to rebuild without dealing with “unnecessary, dupicative, or obstructive” permitting requirements.

The order, which is likely to be challenged by the city and state, claimed that local governments have failed to adequately process permits and were slowing down residents who are desperate to rebuild in the Palisades and Altadena.

“American families and small businesses affected by the wildfires have been forced to continue living in a nightmare of delay, uncertainty, and bureaucratic malaise as they remain displaced from their homes, often without a source of income, while state and local governments delay or prevent reconstruction by approving only a fraction of the permits needed to rebuild,” Trump wrote in the executive order, which he signed Friday.

The order called on the Secretary of Homeland Security and the Federal Emergency Management Agency to “preempt” state and local permitting authorities.

Instead of going through the usual approval process, residents using federal emergency funds to rebuild would need to self-certify to federal authorities that they have complied with local health and safety standards.

The order comes as the city and county approach 3,000 permits issued for rebuilding. A December review by The Times found that the permitting process in Altadena and Pacific Palisades was moving at a moderate rate compared to other major fires in California. As of Dec. 14, the county had issued rebuilding permits for about 16% of the homes destroyed in the Eaton fire and the city had issued just under 14% for those destroyed in the Palisades fire.

While Mayor Karen Bass did not immediately provide comment, the executive order drew intense pushback from Gov. Gavin Newsom.

A spokesperson for Newsom, Tara Gallegos, called Trump a “clueless idiot” for believing the federal government could issue local rebuilding permits.

“With 1625+ home permits issued, hundreds of homes under construction, and permitting timelines at least 2x faster than before the fires, an executive order to rebuild Mars would do just as useful,” Gov. Gavin Newsom wrote in a post on X, citing the number of permits issued solely by the city of Los Angeles.

Newsom said that the federal government needed to release funding, not take over control of the permitting process. The governor said that what communities really lack is money, not permits.

“Please actually help us. We are begging you,” Newsom wrote.

Instead of descending into the permitting process, Newsom called on the president to send a recovery package to congress to help families rebuild, citing a letter from a bipartisan delegation of California legislators that called for federal funding.

“As the recovery process continues, additional federal support is needed, and our entire delegation looks forward to working cooperatively with your administration to ensure the communities of Southern California receive their fair share of federal disaster assistance,” wrote the California legislators on Jan 7.

Some in the Palisades agreed that money was a bigger issue than permitting.

“When I talk to people it seems to have more to do with their insurance payout or whether they have enough money to complete construction,” said Maryam Zar, a Palisades resident who runs the Palisades Recovery Coalition.

Zar called the executive order “interesting” and said that it was fair of the president to call the recovery pace slow and unacceptable.