PivotHeated Rivalry Producers: How We Made a Hit
CHAPTERS
Bonus episode setup: a rare feel-good Pivot, and Season 2 “yearn” teasers
Kara Swisher introduces a special bonus episode focused on the breakout hit “Heated Rivalry,” joined by creator Jacob Tierney and executive producer Brendan Brady. They joke through early tech issues and address fan questions about whether there will be extra content before Season 2—without making promises.
- •Kara frames the show as a surprise cultural phenomenon and a strong business story
- •Producers dodge a concrete answer on a standalone episode: “enjoy the yearn”
- •They admit how recently Season 1 was finished and how fast success arrived
- •They’re still figuring out what’s feasible to deliver over the next year
Why “Heated Rivalry” hit: queer joy without preaching or punishment
Tierney explains that the show’s impact comes from presenting queer joy plainly—without centering trauma or moralizing. Swisher notes how unusual it is to watch and not brace for inevitable punishment, especially given how sex and happiness are often portrayed as incompatible for queer characters.
- •“Soft power” of un-preachy queer joy and romance fulfillment
- •A deliberate choice not to make trauma the organizing principle
- •Sex and happiness are often framed as mutually exclusive; the show resists that trope
- •The core appeal is emotional honesty and intimacy rather than shock value
The female fanbase and romance’s underestimated market power
Brady and Tierney argue that the show’s “secret sauce” is its roots in romance—a massive genre often dismissed due to misogyny. They emphasize the story is written by women and primarily consumed by women, and that executives frequently underestimate female desire as a commercial force.
- •Romance readership is enormous and supports the fiction publishing ecosystem
- •Dismissal of romance is tied to misogyny and not taking women’s tastes seriously
- •The producers pitched a built-in audience: readers already obsessed with the IP
- •A key misconception: thinking women wouldn’t watch without a female protagonist
Canada vs. U.S. economics: cultural sovereignty and the Canadian financing model
The conversation turns to why the show was made in Canada and how Canadian policy supports production through subsidies, grants, and tax credits. Brady explains this system is tied to cultural sovereignty concerns and differs sharply from the U.S. studio-led model.
- •Canadian system combines broadcaster license fees with provincial/federal tax credits
- •Typical broadcaster license covers ~20–30% of budget; credits add another ~20–30%
- •Producers retain underlying IP in Canada rather than selling it to a studio
- •Industry anxiety: trade/market pressures could threaten Canada’s cultural model
How they closed the money: Bell/Crave, distribution advances, and personal risk
Brady details the patchwork that completed financing: Crave’s license fee, tax credits, and a distribution advance via Bell Media’s newly acquired distributor. To bridge the final gap, Brady and Tierney reinvested most of their producer fees—betting on long-term upside from IP ownership.
- •Bell Media described as a telecom/entertainment giant (Comcast+Disney analogy)
- •Bell’s Sphere Abacus enabled a distribution advance to cover a major budget portion
- •The final ~10% came from producers’ fees (minus what they needed for taxes)
- •They took a substantial gamble based on confidence in long-tail ownership value
Budget reality check: ~3M CAD per episode and why it still looks premium
They reveal the budget was just under 3 million CAD per episode (roughly ~2.2M USD), extremely low for a one-hour drama by U.S. standards. They attribute the on-screen quality to experience, discipline, and a production approach optimized for efficiency.
- •Budget disclosed: just under 3M CAD per episode (≈2.2M USD)
- •They note U.S. drama budgets commonly range ~4–10M+ per episode
- •Tierney and Brady stress it’s low even compared with sitcom economics
- •Quality came from workflow choices, not inflated spending
Efficiency by design: block-shooting, pre-written scripts, and humane hours
Brady describes a production method closer to making one long film: all episodes written before prep, then shot as a block in 36 days. They also aim for 10-hour days to reduce overtime costs and to address labor inequities—especially for departments dominated by women such as hair, makeup, and wardrobe.
- •All six episodes shot in 36 days, directed by Tierney
- •Block shooting across episodes to maximize location and schedule efficiency
- •10-hour days to avoid overtime and limit cost ballooning
- •Workplace equity: long days disproportionately burden women-run departments
Tierney’s “anti-fascist” directing: collaboration over control and endless takes
Tierney explains his creative philosophy: rejecting perfectionism and top-down domination on set. He argues that excessive takes and micromanagement are often cruelty disguised as artistry, and that television is inherently ensemble work requiring trust in actors and collaborators.
- •Perfectionism and 25-take torture often signal a scene problem, not an actor problem
- •He prefers being surprised by actor choices rather than enforcing a rigid plan
- •TV as an ensemble medium: if you want total control, make different art
- •Critique of macho set culture (e.g., controlling behavior like banning phones)
Owning the IP: long-term upside, merch, and bringing back “backend” economics
They discuss what it means to own the underlying rights: it enables merchandise, long-term revenue, and leverage across seasons and spinoffs. Brady contrasts Canada’s creator-ownership model with the U.S. tendency to pay more upfront but reduce creator participation over time.
- •IP ownership enabled them to launch merchandise as a meaningful business line
- •Reinvesting fees made sense because they can benefit for decades if it hits
- •They argue the industry should restore backend participation for creators
- •Budgets inflate when systems reward studios regardless of hit magnitude
Feeling vindicated: rejections, executive notes, and trusting the existing audience
A fan question from Ilene Chaiken prompts reflection on the rejection gauntlet. Tierney admits to a little smug satisfaction but emphasizes the bigger lesson: trust creative instincts and the proven IP audience rather than executive-driven “fixes.”
- •They received contradictory notes (too much sex/hockey; too little sex/hockey)
- •A standout bad note: needing a female protagonist “entry point” for women viewers
- •Tierney praises executives who speak less and give fewer, higher-quality notes
- •Both enjoy mild vindication when prior passers realize what they missed
Second-screen viewing pressures and how the show resists over-explaining
Kara plays Matt Damon’s comments about streamers asking for early set pieces and repeated exposition because audiences multitask. Tierney says they haven’t faced that pressure at Crave and notes the show rewards attention because it relies on subtext, looks, and what’s not said.
- •Streaming-era notes: hook viewers fast; reiterate plot for distracted audiences
- •Tierney: the show’s simplicity is in plot, complexity is in silence and avoidance
- •Sex scenes function as truth-telling when dialogue can’t
- •They acknowledge both “visual podcast” shows and attention-demanding shows can coexist
Distribution, mergers, and the value of competition in a shrinking marketplace
They discuss how global distribution works for “Heated Rivalry” and why mergers worry them. Brady argues creators benefit from more buyers and more competition; Tierney notes HBO is an acquirer/distributor rather than a creative decision-maker on their show.
- •Crave carries HBO content in Canada; shifts in that ecosystem could matter a lot
- •They dislike consolidation because it reduces places to sell projects
- •International sales are territory-by-territory with options for future seasons
- •HBO’s role is acquisition; they don’t shape creative content
AI in entertainment: helpful for operations, not a substitute for human friction
Swisher asks about AI’s impact on Hollywood; Brady sees near-term value in operational tooling (scheduling, budgeting, prep) rather than automated creativity. Both argue that creative “friction” and human communication are essential and hard to replicate with AI.
- •AI opportunities: scheduling, budgeting, storyboarding/prep, data-heavy admin work
- •They resist AI as the “creative engine” for writing and storytelling
- •Friction is framed as essential to collaboration and meaning-making
- •Tierney: he loves writing/directing and doesn’t want AI to replace that process
What’s next: future seasons, dream opportunities, and a new Indigenous-led project
As the episode closes, Tierney hints at dream offers he can’t yet name while Brady spotlights their production company’s slate. They tease “The King is Dead,” an action-adventure comedy about Indigenous protagonists traveling to England to kill King George III.
- •They expect more “Heated Rivalry,” but timing and scope remain in planning
- •Tierney hints at a “dream come true” project under wraps
- •Brady pitches “The King is Dead” (Indigenous-led, 1700s, comedic revenge premise)
- •They end with gratitude and a push to deliver more content for fans
