New filmed in N.B. TV series premieres Thursday
REVIVAL stars award winning Canadian actress, Melanie Scrofano, and is based on the graphic novel series of the same name. The series consists of ten hour-long episodes, all of which were filmed in southern New Brunswick.
'This has been a number of years leading up to this moment for us to have a TV series of this scale here in New Brunswick produced by our company,' says Greg Hemmings of Hemmings House Pictures. 'So, we're pretty thrilled.'
Hemmings, who is also an executive producer of the show, says the series is a 'cult classic' and is based in a sleepy little town called Wausau, Wisconsin. Tensions and fear run high in the community when the recently deceased come back to life and return to town.
Dana Cypress, played by Scrafano, stars as a police officer in the centre of the plot. She is tasked with solving a murder where both the living and revived are suspects.
Fellow executive producer, Stephen Foster, who is also with Hemmings House Pictures, says Saint John works as a perfect backdrop for the setting.
'You just got to not point the cameras at the Bay of Fundy, that's the only trick,' Foster jokes.
Southern New Brunswick viewers will likely recognized some locations with filming being done around uptown Saint John, and in neighbouring communities like Grand Bay-Westfield, Hampton, and Sussex, N.B.
Filming for the series saw over 200 New Brunswickers find full-time work for the production and over 400 part-time workers, says Foster. There were also 51 people who experienced working in the industry for the first time during production.
One of those was 9-year-old, Flora McInroy, from Saint John. McInroy plays the character named Jordan Borchardt. She is one of the youngest people to come back from the dead in town.
She was one of over 100 girls to audition for the role in an open casting call, one she only found out about thanks to her mom being a hairstylist for production. She says being her first time acting, she never expected to get the part.
'I just can't believe it,' McInroy admits on the thought of starring in a TV series in her hometown. 'I'm very proud of myself for being able to do this, and I'm very thankful and grateful for just being able to do this, meeting other people, being able to share this experience and share the work that everyone has worked so hard on.'
She, like Foster and Hemmings, hope REVIVAL is the first of many big productions to be filmed in the province in the months and years ahead. McInroy notes she may never have gotten the chance to act had it not been for the local production.
'These aren't just beer and pizza paying jobs,' points out Foster. 'These are union scale jobs. These are jobs that you can get a mortgage on and we're continuing to urge the government to continue to participate with us on this.'
The show debuts Thursday at 11 p.m. Atlantic time on the CTV Sci-Fi Channel and is streaming the next day on Crave. A free community public screening of the first two episodes will be held in Saint John on Friday June 27.
REVIVAL
REVIVAL, a new TV series filmed in Saint John, N.B. premiers this Thursday. (CTV Atlantic/ Avery MacRae)
For more New Brunswick news, visit our dedicated provincial page.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
CTV News
2 hours ago
- CTV News
Pawlooza unleashes fun for thousands of dogs and their owners
This dog attended the Pawlooza dog festival at Plunkett Estate on Aug. 16, 2025. (Lauren Stallone/CTV News London) Once a year, the smell of biscuits fills the air and tails wag by the thousands as the ultimate dog festival makes its return. 'Pawlooza is Canada's largest single day dog festival,' said Tabitha Palmer, co-coordinator of the festival. The festival is put on by two local non-profit organizations; Animal Rescue Foundation (ARF) Ontario and Leads Employment Services. 'ARF focuses on rescues with First Nations Communities,' said Palmer. 'Leads helps people with disabilities who would otherwise struggle to find employment do just that.' Visitors to the festival also got the chance to meet dozens of furry friends in need and decide if fostering is for them. 'Giving back to all the animals in need is just our life,' said Stacey Bobotis, a local dog rescuer. She said she urges anyone who is able to foster, adopt, or give a pup a home. 'The dogs that you find through rescue give you the most love,' said Bobotis. 'Not that other animals don't, but the animals you rescue know what it's like to not be loved sometimes.' Held at the Plunkett Estate, Pawlooza offered a variety of activities including agility demonstrations, dock diving, and a supervised cooling deck to keep guests refreshed. With more than 3,000 dogs in attendance this year, it was clear; Pawlooza isn't just a festival, it is where tails tell the happiest stories.
CBC
4 hours ago
- CBC
This historic sanctuary draws visitors 24 hours a day, and not all are Catholic
Nestled in busy Vanier, the leafy Grotte Notre Dame de Lourdes caught the attention of 25-year-old storyteller Abdul Farooq, who teamed up with Gavin Lanteigne and Kevin Acquah to tell the story of the century-old outdoor religious site and its enduring appeal in this CBC Ottawa Creator Network piece.
CBC
5 hours ago
- CBC
New collection of poet John Newlove's letters reveals the man behind the words
Guelph author publishes collection of letters from John Newlove 4 days ago Duration 1:48 "I'd like to live a slower life. The weather gets in my words and I want them dry." Those are the opening lines of The Weather, a poem by John Newlove. He was known as the Poet of the Prairies and he was inspired by the province where he was born. Saskatchewan's Newlove died in 2003, but a new collection of his letters, edited by Guelph author Jeff Weingarten, has been released to shine a light on who he was. Weingarten spoke with CBC K-W's Craig Norris, host of The Morning Edition, about this latest collection of Newlove work called The Weather and The Words. The following interview has been edited for clarity. Audio of the interview can be found at the bottom of this article. Craig Norris: Can you share what is it about John Newlove that has inspired you? Jeff Weingarten: In 1968, Maclean's magazine had published eight poems by John, and they prefaced that publication saying we never published poems and we're only publishing these because they're plain language. Anyone can read them, anyone can love them. And that to me sums up what's great about John's work. It's readable for the scholar, it's readable for the layperson. Anyone can pick up the poems and enjoy them. And the more time you spend with them, the more you'll find to love. There's a bit of an iceberg quality there, where you enjoy that first encounter, but the deeper you go, there's so much more. CN: When did you discover John Newlove? JW: The very first time was as assigned reading in my undergraduate [class] at the University of Toronto. But then a few years went by and as part of my masters I was expected to read very broadly and I came across him again at that point as a major voice of the 60s and 70s. It was a coincidence that while I was reading them, I thought, 'wow, this is really great poetry. I wonder what else he's done.' It turned out his selected poems had just been published that year along with a documentary. So I went through all that and took it as a sign to spend a bit more time with him. CN: Where did you find the letters that are in this book? JW: The majority of them came from the University of Manitoba and Winnipeg. I was there in 2011 for about two weeks, scanning, photographing everything I could get with the idea that one day I'd probably write a book of letters. So I gathered a lot of them from there, but I also had some time at the University of Toronto where they had about 25 per cent of all of his letters. The rest were from archives all over the country. I was emailing archives where I thought John might have written another poem and looked into their archives to see if John had letters there or I'd have friends and colleagues and writers say 'Oh, hey, like I have a couple letters from John if you want to take a look.' So they're from all over. CN: Who was he corresponding with in these letters? JW: A lot of different people, politicians and poets. He wrote letters to famous, well-known writers like Margaret Atwood, Michael Ondaatje, George Bowering, Al Purdy, a lot of these writers. They all ran in kind of the same circles and John was actually very good friends with quite a few of them. Atwood and John in particular were quite close for awhile. And so a lot of the letters are between poets and other writers, but publishers as well. He also worked as an editor at McLennan Stewart in Toronto. So he would be writing to poets or novelists as an editor, not as a friend or equal. And then he also has a lot of letters to family, also letters from fan mail students who would write him and ask, 'Where do the poems come from?' CN: How did you go about choosing which letters to include in the book? JW: That was really tough. There were about 3,000 letters I had to work through and I ended up with around 300. My main thing was I wanted the letters to be, I would describe it as kind of like a trinket store. You know, where you walk in and there's a bit of everything and you can pick whatever trinkets off the shelf that appeal to you as a reader. So some of the letters were about was John? What was he doing? How did he write? Some of them were about philosophy, like how did John and his contemporaries think about poems and writing? Others were about literary culture, like what was happening in Canada and Canadian history at that time. But then a lot of them are also about other things like John's struggle with mental illness and his mental health issues. John struggled with addiction and he was severely addicted to alcohol and cigarettes. I really wanted to show lots of different sides of the era and the person. I didn't want this to be just John and who was John as a poet, but who was John as a person? Who was the era? What was the era about? And I feel like the book shows a lot of different sides of people and the time. CN: Do you think that his alcohol addiction impacted his art at all? JW: Not necessarily his writing so much. He was very well known for having a totally tidy workspace and clean desk, clean little perimeter around his desk. No one could cross the perimeter. He lived there to write and no one bothered him. And at the same time throughout his career, as far as I'm aware, he would write sober. But when it came to other things, he worked drunk as an editor, he did talks drunk. He lived as a severe alcoholic and that got him into fights. He would really alienate a lot of people because he could be a pretty aggressive alcoholic when he was drunk, he could be very confrontational. There are letters in the book where he says, you know, I quit on Friday, but I got hired back on Monday after a big falling out with someone. So he had a lot of conflict with people and he alienated himself from a lot of people. CN: What do you think it is about letters that we find so interesting? JW: I say in the introduction to the book that it's like being a bit of a fly on the wall in the past. You get to see things that were never meant for public consumption, right? No one was ever meant to read these. There are poets who one day plan may say, 'Oh, I'm sure someone will read my letters.' They have that ego. But John especially did not have that ego. He writes openly. He doesn't think anyone will ever care about what he said. And so you find out, I think, things that John would never have said publicly about himself, about his family, about his writing. And I think you also get to really see kind of the person stripped bare. But I also think it's important to remember that, culturally, letters serve the function that nothing else could. There were no texts, there were no emails, there were no websites. Long distance calling was completely unaffordable. And many of these writers were so broke they didn't even have phones. A lot of the letters are letters of introduction, like, 'Hey, I read your poem from this issue of that magazine. I'm wondering if you wanna work on something with me.' There's fan mail or begging for money, there are even letters where he's writing to other poets saying, 'Hey, I'm broke, I can't afford groceries, could you send me a check?' So letters fulfilled a function that I think we really, really underestimate how important they were historically to form in community. So it's also like contemporary history.
