CORONER SEASON 2 PREMIERS ON CBC!

ToNite’s the nite:: #CoronerCBC Season 2 Episode 2 airs tonite! It’s titled Borders, written by Motion, directed by Adrienne Mitchell and featuring a GREAT cast (including Serinda Swan, Roger Cross, Andy McQueen, Lovell Adams, and Oluinke Adeliyi! 👊🏾). What an experience! What a writing team! Hope all tune in – 9PM on CBC Television, and 24-7 on CBC Gem App. ✊🏿 Read more here: https://thetelevixen.com/coroner-borders-preview/

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THE BLACK NOTES ANTHOLOGY OF BLACK WOMEN WRITING

This collection contains stories and poems written by 12 Black women; it is serendipitous that their voices blend seamlessly, and beautifully, even though the writers are intergenerational. The storytelling crosses local, national, and international cultural sensibilities, giving the reader a glimpse of the way the storytellers ‘receive’ and share ‘Story’. The poets cut through emotional lines to caress the reader, just before they unleash a shaft of insight that rattles your consciousness. Contributors to Black Notes include Motion, Itah Sadu, D’bi Young, Whitney French, Brenda Lee Browne,  Mansa Trotman and Jemeni.

Editor Althea Prince was born in Antigua, the Caribbean, and has lived in Canada, the US, and England. She has taught sociology at York University and the University of Toronto, and now teaches at Ryerson University — The G. Raymond Chang School of Continuing Education, where she won the Kay Livingstone Award in 2011. Dr. Prince is known for her work as an essayist and fiction writer. Her published works include The Politics of Black Women’s Hair (cultural studies), In the Black (editor), Being Black (cultural studies), Loving This Man (novel), Ladies of the Night (stories), Feminisms and Womanisms: A Women’s Studies Reader (co-editor), and How the Starfish Got to the Sea (children).

BUY THE BLACK NOTES at AMAZON.

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BIPOC TV & FILM AND REELWORLD PRESENT…

Interested in transitioning into a career in television? ADAPTING TO A CAREER IN TV panel hosts Directors, Writers and Filmmakers who have made the jump from music videos, theatre, short films etc. to directing broadcast television series. Join in Friday, October 18th, 5:00 p.m. at @torontolibrary. Featuring writer Motion, director RT!, director/writer Jasmin Mozaffari. Moderated by Nicole Mendez (Executive/ CBC).

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ACTRA TORONTO PRESENTS CASTING CORONER PANEL AT #ACTRACON

ACTRA Toronto presents its #ACTRACon Members Fall Conference, Saturday September 21, 2019 at the Ted Rogers School of Management, 55 Dundas Street West, Toronto. The annual conference is a packed day of panels, workshops, masterclasses, pitch sessions and networking.

Featured at this year’s conference, the creative team behind the hit CBC series CORONER (Back Alley/Muse) joins host Nicole Stamp for an exciting panel titled Casting Coroner: How Diversity Drives The New Hit!

Giving a sneak peak into the creative and casting process behind the scenes, the panel includes Executive Producer/director Adrienne Mitchel, Showrunner Morwyn Brebner, Co-Producer/writer Seneca Aaron, Co-Producer/writer Nathalie Younglai, Executive Story Editor/writer Motion and Casting Director Lisa Parasyn. 

Ever wonder how the casting process really works? Who makes the decisions, and what this means for actors? For answers to these questions and more, join the creative team behind Coroner, Canada’s #1 new drama — a female-driven show where the majority of primary characters are people of colour, Indigenous and/or LGBTQ+. This is a unique opportunity to hear how a top production team works, why diversity in television is critical, and how a focus on inclusive casting shapes an entire series.

View the 1st season of Coroner now on the CBC Gem App! Now in production, Coroner Season 2 premiers in January 2020!

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BLACK WOMEN FILM! CANADA LAUNCHES DIRECTORY

Black Women Film! Canada (BWF) launches an exciting new awareness building campaign! The new BWF! Directory encourages collaboration and increased visibility of Black women in Canadian film, video, and media arts.

Connect to blackwomenfilm.ca/directory for bios, photos and video links of producers, directors, writers, actors and media professionals working in today’s Film & Television and media industries. The new directory promotes the work of talented creators, builds networks, and increases opportunities for collaboration and connection.  As one of the writers featured in the directory, Motion is honoured to join the hundreds of Black women highlighted in this invaluable resource!

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MONTREAL’S KALMUNITY MUSIC WEEK IS FIYAAH!

Renowned Montreal band, event and artistic presenters KALMUNITY presents it’s 2nd Annual Music Week 2019!

Don’t miss Canada’s 1st week of black art & music, featuring 8 nights of performances, art, vegan eats, urban vendors and more in the city of #Montreal starting April 28th at Resonance Café with Dwayne MorganMotion, Nth Digri and Eddy Da Original One!

The fest continues on April 29th at Rafaelle Bar Salon for our #Afrofuturism art expo & cocktail party (Free Entrance | By Donation) featuring Travis Knights, Keithy Ladyspecialk, Tanisha Mapp, Black Speculative Arts Movement Canada, beats by Shem G. – The MC and more!

Kalmunity rolls on from April 30th through May 5th at Petit Campus with performances by Maimouna Youssef, Lady Alma, Spek Won, Magdala, Micah Shemaiah, Asadenaki, Ras Moshe Burnett, Meryem Saci, Waahli aka Wyzah, Jahan Nostra, Preach Ankobia, Trinisha Browne, The dynamic duo of Larnell Lewis & Rich Brown, Seydina, Kaisha Lee, Dan Fiyah Beats and the legendary Duck Down Records duo Smif N Wessun!!

Tickets and info available at www.kalmunity.com

KALMUNITY is Canada’s largest and longest running black arts & improv collective of multi-disciplined, linguistic & cultural creatives boasting a local membership of over 60 creatives that was founded in 2003 by Jahsun & directed by Preach Ankobia. Their best known weekly events which take place Sunday & Tuesday night in the city of Montreal are a city staple, showcasing top talent, both locally and internationally.

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BRICKYARD AUDIO HUB FEATS. MOTION AND MORE…

https://www.youtube.com/watch?v=r-jPPOlI4VA

Brickyard is an audio/visual hub where Brick Books is proud to showcase excellence in Canadian writers, poets, storytellers and spoken word artists.

Curated by renown Spoken Word artist Andrea Thompson, Brickyard features diverse and groundbreaking spoken word poets, poet laureates, slam champs, and dub artists from across Canada, including Motion, Ian Keteku, Britta B, George Elliot Clarke, Lillian Allen, Mahlikah Awe:ri & Alyestal Hamilton.

Visit www.brickbooks.ca, or  subscribe to YouTube channel (Brickyard).

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5 NNNNN’S FOR ORALTORIO!! – NOW

Oraltorio: A Theatrical Mixtape is loud, in your face, pro-feminist Black expression

Motion and DJ L’Oqenz’s revolutionary theatrical mixtape uses hip-hop and spoken world to explore Black womanhood

BY , NOW MAGAZINE

ORALTORIO: A THEATRICAL MIXTAPE by Motion and DJ L’Oqenz (Obsidian/Soulpepper). At the Young Centre for the Performing Arts (50 Tank House). Runs to October 20. $25-$35. See listing. Rating: NNNNN


Is a psychedelic romp through Black consciousness enough to put the soul in Soulpepper? Oraltoriostars DJ L’Oqenz and Motion, two women who use hip-hop and spoken word to tell a story that’s seldom heard – that of the Black woman.

But this isn’t your mom’s negro spiritual. This is loud, in your face, uncompromising pro-feminist Black expression. Salt-N-Pepa ain’t got nothing on this duo.

The patriarchy has been holding Motion down for a minute. This is a world where men of God rail against female preachers and white people decry Black music while dancing to Elvis. Her only solace is the boombox in her room and rhythm in her heart.

The soundtrack comes courtesy of L’Oqenz, a pro in athletic wear rocking a deep fade. Armed with a set of turntables, L’Oqenz paints the sonic landscape as Motion comes into her womanhood. Skits of life interwoven with absurdist commentary are all backed by 90s throwback jams. Motion is the ultimate entertainer, bouncing between minstrel show to spitting bars on the Five Percent Nation.

It’s not all song and dance, though. Director Mumbi Tindyebwa Otu seems to be telling us: if you’re going to enjoy the bodies and music of Black folk, you also have to know how it really is. Police headlights laser into your corneas as the sound of gunfire erupts and you’re told not to resist. The entertainment is juxtaposed with traumatic experiences people of colour will be all too familiar with. Suffice it to say, on opening night, white people in the audience looked shook AF, which is the point.

Kudos to lighting designer André du Toit for correctly lighting these melaninated queens. The projections and effects splatter vivid scenery across the black stage, reflecting off warped mirrors.

But the visuals are never overwhelming, serving only to amplify what is happening. Don’t get too lost in the music or you might miss one of the many coded jokes. The revolution won’t be televised; it’s happening live at a theatre near you.

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WRITERS MOTION AND SENECA AARON TALK CORONER -TV JUNKIES

Coroner: Seneca Aaron and Wendy Motion Brathwaite Talk “Confetti Heart”

CBC

It’s never an easy feat to tackle a timely and charged topic, but that’s exactly what Coroner did in this week’s episode. The story behind Jenny’s (Serinda Swan) first inquest is sure to spark many conversations among viewers, and that’s exactly what the team behind the CBC drama series wanted. In “Confetti Heart,” written by Seneca Aaron and directed by Sherren Lee, Jenny’s first inquest looks into a police shooting that also causes Detective McAvoy (Roger Cross) to examine his ties to both the community and the police force. The episode also features a powerful guest starring turn from Jully Black.

In order to have our own deeper conversation about the emotional topic at the center of the episode, we were joined for our weekly Coroner postmortem chat by both Aaron and fellow Coroner writer Wendy “Motion” Brathwaite. The duo spoke to us about why, along with showrunner Morwyn Brebner and executive producer Adrienne Mitchell, this episode meant so much to them, and how conversations had by the diverse writing team of the show was able to ensure they were telling not only a good story, but also highlighting all points of view.

The TV Junkies: How did you both become involved with Coroner?

Seneca Aaron: I had a meeting with Adrienne and Morwyn where we really hit it off right away. I actually had a bit of an accident on the way to meet them. It was very, very cold and icy out that day, and I slipped on some ice and fell on my back. I was fine, but this very nice elderly man walking past tried to help me. Before I could tell him I didn’t need help, he slipped as well and fell on top of me. The two of us laid on the ground laughing, so by the time I got to the Back Alley offices to meet, I couldn’t stop laughing. I thought it wasn’t going to go well because I was being so unprofessional and couldn’t stop laughing, but they started laughing as well. It really broke the ice and we had a lovely conversation. We talked about the source material for Coroner and some other stuff I was really reacting to emotionally. It was a really lovely chat and it felt like a meeting where it went so well I wasn’t going to get the job. When they did bring me on I was surprised and very thrilled.

Wendy “Motion” Brathwaite: My story is not as eventful as Seneca’s, even though I’m sure the day was just as cold. I met with Adrienne and Morwyn to speak with them about the series, but I actually had first met Adrienne many years before during the days of Drop the Beat. As a co-host of The Masterplan Show, a radio show at CUIT, the creators used to come by and do research and learn about the world of college and hip hop radio. It was interesting to come into a space where I was coming from the music world and now writing for the screen. They said they had read some pieces I’d written and our first conversation was lively with a good connection.

CBCWhen I heard I was going to be a member of the writing room, it was very exciting. This was going to be the first time I was part of a room in production. I had only been in development rooms, but that was a really great foundation for me to now get to be a part of a room like this.

TTVJ: You’re both still early on in your TV writing careers. How valuable was it to work in the Coroner room and what were some of the biggest lessons you learned from the more senior writers?

SA: I had the pleasure of working with Noelle Carbone prior to the Coroner room and we were familiar with each other, but I was meeting everyone else for the first time. It was an incredible opportunity to learn from some people who are well established and have decorated careers. I went in with the mentality that I want to contribute as much as I can, but I’m also comfortable having the conversation led by more senior people and finding my way in or moment to contribute. Once everyone became comfortable, it really became a free-flowing format after that and it starts at the top with Morwyn. From Day 1, she said she wanted everyone to have a voice and feel supported and confident in their ability to contribute. I think that really set the tone for the duration of the room. Sean Reycraft, Noelle, Waneta Storms all are very experienced and very generous. It’s a skill to listen, and one thing I noticed about everyone is that there’s so much listening you can do and mine from that.

Motion: I would second all that Seneca said and would add that the biggest lesson for me was how different minds can come together and work towards a common narrative. What was exciting about being on a project like this, from the beginning, is collectively deciding what these characters feel like, sound like and what their voices and backstories are. The thing I got from this room is how much laughter is a part of the process. You could always think as big or crazy as you want, get it all out and be as ridiculous as you may want to. A lot of times the reality comes from the laughter or joke and being able to distill the story from the conversations happening in the room. All that brain work turns into dialogue, action and visuals. I also kept my ears open so I could learn from each member in the room because everyone brings a different POV.

TTVJ: The topic in this episode is very timely. Can you discuss the decision to address something like police brutality here? It’s such a charged topic too, how did you approach writing it?

SA: I will say that Morwyn already knew there was going to be an episode that explored this subject matter when we joined the room. I was very honoured that I got assigned the episode, but it’s a very collective effort breaking all the stories, especially something as timely and delicate as this. First and foremost, we always want to tell a good and interesting story. That still applies when you’re dealing with sensitive topics. It’s definitely not a new story we’re telling, but how do we tell it in the world that we’ve created?

We explored so many different perspectives, and had so many honest conversations when discussing race and the relationship between the community and law enforcement. Often, these conversations got very emotional because some of us have family members that have been affected negatively by scenarios like these, but then we have others who have family members that are law enforcement. Because the room was so inclusive and there was such a diverse collective built, we were able to have these very honest conversations and come to understand the multitude of perspectives that exist in these scenarios. The story really came from that — a lot of very long, difficult and honest conversations and a lot of research.

Motion: I remember when Seneca first brought in the initial outline and I got so excited thiking “this is going to be so dope! This is going to be so deep!” I was excited and moved because I felt that the way he approached it, and the opportunity to tell this story on a mainstream broadcaster in Canada, is not a regular occurrence. It was a brave treatment that really looked at the effects that this issue has on families, communities, emotion and the reality of living in a place like Toronto and still being othered. To do that dramatically, and at Episode 6 of this season, was a really great opportunity to put our narrative into the mix of conversation. I love that Seneca was the one to take all that conversation, all those feelings, points of view and then really create a poignant episode.

SA: It is a topic that everyone is so passionate about, no matter what your opinion is, so kudos to CBC in supporting us in doing an episode like that. You do see this on broadcast television, but not often, and we did want to get as much into the nuances of the story as we could and how it affects everything around it.

We tried to be as authentic and genuine as we could. It’s not a secret that our main character is a white woman, but that character has a perspective and opinion on this. It was great to be able to put Jenny in a position that so many people face — where you have to do your job despite how you feel personally about something. Serinda is so great in this episode.CBC

TTVJ: We also need to discuss Roger’s performance in this episode and the fact that we get to learn so much more about Mac’s backstory. I remember Morwyn saying that you guys auditioned him with a scene from this episode and I can see why.

SA: I don’t get emotional a lot, but after we wrapped this episode I gave Roger a massive hug and thanked him. He gave such an honest, incredibly passionate and layered performance. That’s what we wanted. He’s a black man, but he’s also a police officer, and there’s so much complexity tangled in that. He really harnessed that and showed that, and no matter how well you write, you can’t write that. That’s something that the actor is going to find and bring out, and Roger was just incredible.

TTVJ: To get across so many different people’s opinions and point of views on the topic in 44 minutes is really something. It was great to watch and very powerful.

SA: We didn’t want to have tunnel vision on a topic like that because there are so many different opinions and you want to pay respect to all of them, instead of just propping up your own.

TTVJ: This episode also featured Jully Black as a guest star. How did that come about and how fun was that for you guys to have her join?

SA: Oh my goodness! That’s one of those casting scenarios that you throw a name out in the room and everyone says “Yes! Wouldn’t that be amazing?” But there’s no delusion that you’re going to make that happen. We all thought it’d be incredible to get her for it and knew it was a role for her, as we had seen her in the news recently and her performances, but didn’t think it would happen. Kudos to Morwyn and Adrienne for going for it, aiming for the stars and I can’t say enough about how incredible it was to get Jully for the episode.

Motion: In a lot of ways it was a part almost built for her and meant to be. We wanted the musical line throughout the episode because of the musical family that’s a part of the story, and at the time Jully was going viral with her strong words as part of Canada Reads. That power of her voice and stance, as well as her natural talent and skill, made us think it had to be Jully. It’s amazing that it happened and great to see her on the screen, even personally for me after knowing her for so long as a musician and a cultural force in this country. She really embodies the spirit of Imani Abanda and it was so great to have her.CBC

SA: You see many times where someone can look the part, but you don’t know if they can bring it. From Jully’s first take, I remember us all thinking “whoa! She is really good!” This is an entirely different muscle for her and she’s fantastic.

TTVJ: On a less serious note, how much money do detectives in Toronto make? I really could just live in McAvoy’s kitchen. [laughs]

Motion: He made good investments as a youth! [laughs]

SA: Motion, do you remember when we were messing around with all the ideas for McAvoy’s side hustle? At one point, we were going to have him have a side business. One of them was making and bottling kombucha, but yes, he has a nice house!

TTVJ: I’m always jealous when he’s outside at the beach, but then I saw that kitchen!

SA: Me too! I wish! From day one, there was such a visual component established in the framework of the show between Adrienne and Morwyn. Adrienne really had an idea of what she wanted to see and how she wanted to showcase Toronto. It’s really been coming through in the episodes. That’s the thing about Toronto, you can find a house like McAvoy’s in a pocket neighborhood in the surrounding Toronto area. There’s all these places to discover and that’s something the show has done an incredible job of, just showing Toronto off.

TTVJ: What can you preview about next week’s penultimate episode?

Motion: It’s the first of two parts leading into a big season finale. Don’t miss it! #KeepWatching #Coroner [laughs]

What do you think of this week’s Coroner? Add your thoughts below!

Coroner airs Mondays at 9 p.m. ET on CBC and is available on CBC Gem.

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BIPOC-TV & FILM FACEBOOK LIVE WITH WRITER MOTION

Join us tonight at 8:30-9:00 PM EST for a Facebook Live Q&A with Coroner (CBC TV) screenwriter Motion! Her episode of #CoronerCBC (and her debut tv episode) airs tonight (Monday, January 28th) on CBC/Gem App at 9pm. #representationmatters #BlackExcellence #cdntv
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