Inside the Mind of Mark Critch: A Sneak Peek into the Fictional World - Exclusive Clip Included!

Summary

Son of a Critch is a Canadian sitcom based on Mark Critch's memoir, featuring hilarious and relatable stories from his childhood in Newfoundland.

Executive producer Andrew Barnsley, renowned for his contributions to the successful sitcom Schitt's Creek, played a pivotal role in determining the show's ideal tone, skillfully combining humor and heartfelt moments to create a universally appealing series.

With its genuine and relatable characters, the show has struck a chord with viewers not only in Canada and the US but across borders, as they appreciate its unique perspective while finding connection through shared family experiences.

Son of a Critch, much like the popular show Schitt’s Creek, is a Canadian sitcom that has successfully made its way onto American television. This delightful series is based on Mark Critch's memoir from 2018, where he shares his humorous and nostalgic childhood experiences in Newfoundland. Critch even takes on the role of his own father in the show, while the young version of himself is portrayed by Benjamin Evan Ainsworth.

Executive producer Andrew Barnsley played a vital role in bringing this series to life. With a successful track record of creating hit shows and handling semi-autobiographical narratives, Barnsley has also produced Schitt's Creek and Jann. Jann focuses on the fictionalized life of singer/songwriter Jann Arden (played by herself). Barnsley's expertise helped shape Son of a Critch into a winning combination of uproarious comedy and heartfelt moments. Alongside our conversation with Barnsley, Screen Rant is thrilled to present an exclusive clip from episode 6 of Son of a Critch. Take a look below:

Andrew Barnsley spoke with Screen Rant to discuss the truth and fiction of Mark Critch’s life, what makes a Canadian sitcom different from an American one, and more.

Andrew Barnsley on Son of a Critch

Screen Rant: The first thing I wanted to ask you is, at what point did you come onto this project or hear about it, and what made you want to be part of it?

Andrew Barnsley explains that Mark Critch, a well-known comedic voice in Canada, decided to write a memoir about growing up in Newfoundland and Labrador. As a remote island in the North Atlantic with its own unique culture, Mark's memoir, titled "Son of a Critch," became a best seller. During this time, Mark connected with his friend Tim McAuliffe, a Canadian screenwriter based in LA who has worked on shows like The Office and MacGruber. They began discussing the possibility of creating a series based on Mark's memoir while working together on This Hour Has 22 Minutes.

In 2019, Mark contacted me with an idea to pitch. It was a unique concept set in Newfoundland. We discussed it at the Just for Laughs Comedy Festival in Montreal and presented it to potential buyers. CBC immediately expressed interest, recognizing the potential and praising the assembled team and the show's voice. From a production perspective, it was a sensible choice, meeting the criteria for talent selection. Personally, these were stories I was already familiar with and eager to be involved in.

To be honest, I wasn't aware of Mark before our conversation. However, what I love about the show is how relatable it is; it resonates with viewers, including myself, as we reminisce about our own family stories. When deciding on the show's tone, how did you manage to strike a balance between being specific to Mark's experiences while remaining universally accessible?

Andrew Barnsley: The uniqueness of this show lies in its specificity. Set on a remote island in the North Atlantic, it is a period piece that takes place in the mid '80s, adding even more specificity to the story.

However, what we have discovered, and what is ingrained in the show's essence, is that families are families, adolescence is adolescence, and awkwardness is universal. This was evident during the writing and filming process, but it truly became apparent when the show was released and we began receiving feedback from across Canada. People connected with the show on a personal level, reminiscing about their own experiences with things like Walkmans, bullying, and riding the school bus. Despite being specific in its setting and time period, the show's universal themes resonated with viewers.

What's even more remarkable is that it became a show that families watched together. With its multi-generational storyline, the show offers equal attention to all the family members and characters, creating a well-balanced narrative.

And [it has been incredibly gratifying] to witness the response in the US to this, especially considering its highly specific nature. The feedback we are receiving echoes that of Canadian audiences, surpassing our initial doubts and leaving us pleasantly surprised.

Did you learn anything valuable from your experience with Schitt's Creek in terms of putting together and managing expectations for this project?

Andrew Barnsley: When developing or releasing a show, it's difficult to predict how the audience will react. However, we do learn from each experience. One valuable lesson Mark and Tim learned from shows like Schitt's Creek is that audiences become invested in the characters. The question then becomes, how can we position a show to encourage audiences to truly connect and invest in the characters? They have successfully accomplished this.

This show and that show both revolve around the theme of family and depict how families tackle various challenges together. At their core, these shows are straightforward, stripping away the complexities of life to reveal what truly matters to individuals and what resonates with the audience. These valuable lessons were inspired by shows like Schitt's Creek and others that have been successful. Rather than relying on the quantity of jokes, a comedy can focus on character development, heartfelt moments, and deriving humor from relatable, authentic experiences. This is precisely how both of these shows established themselves and found their unique identities.

Furthermore, this isn't your first time working on a semi-autobiographical show, as you previously worked on Jann, based on Jann Arden's life. In this series, you feature high school bullies as the antagonists, a concept derived from real-life situations. How do you ensure that these elements translate to the screen without causing offense?

Andrew Barnsley explains that Mark was intelligent in handling bullies by creating a composite bully from various experiences. He wanted to avoid hurting anyone by telling his story, so he combined different people's characteristics.

However, it is crucial to be considerate when discussing someone's life. Mark has had a surreal experience walking onto a set and seeing his childhood home, along with familiar objects like the phone and radio from his family's living room. Ensuring that the stories are portrayed accurately and authentically, instead of being manipulated by creative forces, is an essential aspect of our conversation.

I believe this has also contributed to the show's success. We have always stayed true to the authenticity of Mark's life and his story. While we have taken certain creative liberties, the core of the show revolves around Mark, his family, and his coming of age. Unfortunately, Mark's parents and grandparents are no longer with us, which adds a sense of tribute and highlights the importance of his legacy.

Andrew Barnsley does not remember if it was Mark who initially suggested the idea of him playing his own father. He recalls that it may have been another producer who pitched the idea to Mark. Despite initially being unsure about the concept, Mark eventually warmed up to the idea and discussed it with the CBC. The CBC agreed to proceed with the idea, and it has proven to be the correct decision.

Mark's first visit to wardrobe, hair, and makeup resulted in a surreal moment where he exclaimed, "I'm my dad." This realization highlighted the need to age him up convincingly. It's impressive how he has managed to capture his father's voice and mannerisms. Looking back, we wonder why it took us so long to make that decision, although we did arrive at it relatively quickly.

Out of all the characters, was there one that posed the greatest casting challenge? Did young Mark prove to be the most challenging role to fill?

Andrew Barnsley: Young Mark was the reason we had to be careful with our casting choice, as the entire show relied on the character and their performance. After an extensive search in Canada, we decided to expand our search to the UK due to the cultural and historical connections between Newfoundland and that part of the world. That's when we found Benjamin Evans Ainsworth, who was the perfect fit for the role. Not only did he have the right look, but he also impressed us with his professionalism. Having already worked with Tom Hanks in Robert Zemeckis' Pinocchio, we were initially unsure if he would be willing to come to St. John's Newfoundland for the summer. However, he embraced the opportunity and has been embraced by the community as well.

Another crucial casting decision was for the role of Pop, the grandfather. We knew that the relationship between young Mark and Pop would be vital to the series. After an exhaustive search, our UK casting directors suggested reaching out to Malcolm McDowell, even though we believed it was a long shot. To our surprise, he loved the script and expressed his desire to be a part of the project. Many consider the dynamic between young Mark and Pop to be the heart of the series, and we feel incredibly fortunate to have both of these talented actors on board.

Watching Schitt's Creek and other Canadian sitcoms, I can't help but notice a distinct difference from the shows made in the US. There's something about Canadian sitcoms that just feels unique. Andrew Barnsley, a producer of Canadian sitcoms, explains that one of the main differences lies in the production style. Unlike the US, Canada rarely uses a multi-cam system for sitcoms. Instead, they opt for a single-camera approach. This choice brings a different comedic tone and convention to Canadian shows. While multi-cam sitcoms prioritize cramming as many jokes as possible into each episode, Canadian sitcoms focus on the comedy derived from characters, stories, and genuine emotions. This emphasis on heart and storytelling sets Canadian sitcoms apart and has proven to be successful.

About Son of a Critch

In addition, having recently discussed this matter with someone, I noticed that in the comedies I have been involved with, the majority of the characters are likable. You find yourself cheering for them and supporting their endeavors. This is not always the case in American sitcoms where you might align with a character, yet disagree with their moral values, leading to a lack of empathy if they were to fail. Canadian shows, on the other hand, seem to have a different approach. They embody kindness and warmth, and you genuinely want these characters to succeed.

Son of a Critch is a captivating and authentic tale inspired by Mark Critch's award-winning and bestselling memoir. Set in the 1980s, this hilarious series delves into the coming-of-age journey of a young Mark. Despite being only 11 years old, Mark possesses an old soul, using humor and self-deprecating wit to make friends and forge connections within his small circle. Through this heartfelt story, we get a glimpse into the world of a child who feels much older inside.

Son of a Critch airs Monday nights on the CW.