For many women, life doesn’t begin to slow down after 40. Instead, it marks the start of an entirely new chapter. That’s the heart of ‘Love in All the Small Places’, an independently produced Bell Fibe TV1 series created by, written by, produced by, co-directed by, and starring Sarah Cleveland. Blending heartfelt comedy with honest storytelling, the series follows Sasha as she rebuilds her life after the unexpected end of her marriage, navigating modern dating, evolving friendships, perimenopause, and the often messy journey of rediscovering herself. In a chat with Shwayta Sharma, Cleveland reflects on the inspiration behind the series, the realities of wearing multiple creative hats, the challenges of independent filmmaking, and why authentic stories about women over 40 deserve a much larger place on today’s television landscape.
You’ve mentioned that while you appreciate playing strong characters like mothers and CEOs, there is an untapped, rich narrative in the romantic lives of women in their 40s. Was there a moment or missing story on television that convinced you that you had to tell Sasha’s story? Why was it important for you to tell a story about women navigating life after 40?
Over the last several years, I have watched my friends and colleagues go through major life changes. They were attempting to step into a world that, while comfortable for younger generations, was unknown and confusing for those 40 and up. 40 is such an interesting time. I have friends who are just starting families, friends who are empty nesters, and friends who are completely starting over; after divorce, loss, or simply because they want to find themselves again.
I remember watching the series Younger several years back, watching Liza try to fit into the life of a younger woman because her life in her forties wasn’t working for her. But the reality is that it’s not that women want to be younger; we just want to figure out who we are in the present and how to navigate this new chapter honestly.
You wore almost every major hat on this project: writer, star, co-director, and co-producer under your company ‘Immensity Productions’. How did you switch gears between the business side of independent filmmaking and the vulnerability needed to play Sasha? Which one of the many hats do you feel challenged you the most?
Switching gears was easy because I had the most incredible partner beside me the whole time. Rebeka Herron is talented in so many ways, and luckily, we saw eye to eye on almost every decision. When we were prepping and pitching, we constantly bounced ideas off one another. We shared folders and files, working remotely, while simultaneously brainstorming on the phone.
On set, we would discuss shots and plans for the day. Rebeka would check the frame on her end, and I would look at it while on my mark. The best part was that once I stepped into the role of Sasha in front of the camera, I was able to fully immerse myself because Rebeka took over. I knew she had my back and that we would review the take together after they called cut.
The hat that was the most challenging, and I feel most filmmakers will agree here, is producing. It is time-consuming, exhausting, and involves so much paperwork. Plus, that role doesn’t just start when the cameras roll, and it certainly doesn’t end after you wrap. It is a job that continues for years to come.
The show doesn’t shy away from the chaotic and humorous realities of starting over, navigating friendships, dating apps, and perimenopause. Why did you feel it was essential to keep these elements unfiltered and messy rather than choosing a more idealized TV approach? How did you keep those topics honest without losing the humour?
Unfiltered in more ways than one! I wanted Sasha to be relatable and honest. You will notice that when Sasha is down, she is really down. She is living in her own mess, both physically and mentally. It’s hard to pull yourself out of that, and sometimes it takes the people in your life, whether it be family, friends, or neighbors, to pick you back up and even make decisions for you when you aren’t capable of doing it yourself.
Hurt, anger, joy, clumsiness, awkwardness…these are things we all go through. We make mistakes, we accidentally use the wrong words, we miss appointments, we are vulnerable, we hurt others, and we are sometimes too honest (or not honest at all). The biggest thing we all have in common is that we all want to be loved. To keep it humorous, we just leaned into that awkwardness. You don’t have to invent jokes when you’re dealing with the realities of dating in your 40s or sudden hormone shifts. The honesty of those situations is funny on its own. Kind of like, if you don’t laugh at the mess, you might just cry!
As for perimenopause, I felt this was important to incorporate for many reasons. First off, it is a topic that, until very recently, was not addressed, talked about, or even fully understood. And every woman I know at this age is experiencing some, if not all, of the symptoms. Let’s get more people talking about it, asking questions, and hopefully finding some answers and understanding.
Sasha is nudged back into dating by her sister Taylor (Ann Pirvu) and her best friend Moe (Andrew Meikle), who create an online dating profile for her. How did you and your co-stars build that natural, supportive chemistry to make these relationships feel so authentic?
Luckily, I knew both Ann and Andrew before the show, so I already had an idea of what that dynamic would look like. On the very first day, Ann and Andrew were on set together; they bonded immediately, and the three of us easily fell right into our characters.
When I met Andrew several years ago, I knew right then that I wanted him to play the role of Moe. He is so kind, warm, and inviting; I knew having him play my best friend was going to be absolutely perfect.
Ann and I also met years ago, and we had talked for far too long about working together. When I pitched the idea of playing sisters, she was all for it! I think it’s so important to work with people you meet along the way who you feel connected to. When you can create the opportunity to work together and support one another, you have to take it!
Before launching the television series, you and co-director Rebeka Herron developed a short film of the same name that became a finalist at Cinefest’s Best in Shorts competition. How did the festival reception and making the short help you refine your vision for the television series on Bell Fibe TV1?
It really did! We were so grateful for the selection and screening at the festival, and the feedback was overwhelmingly positive. The main difference was that the short film acted as an ending to Sasha’s story, whereas our series is just the beginning. The series features almost the exact same scene, but with a different take on it; Sasha in the series needed to be more hurt than angry. It will all make sense when you see the show! (winks)
You teamed up with Rebeka Herron and her company, ‘Rusty Halo Productions’, to co-direct and co-produce the series. What did your day-to-day creative collaboration look like on set when you were both having to direct specific episodes while managing the production?
Rebeka and I didn’t actually divide up specific episodes; we worked as true partners across the board. We decided on the shots together and determined the tone and what we wanted to convey in every single scene. I had my ideas as the creator, having lived with this story in my head for years, and Rebeka brought her own distinct vision. The amazing part is that we were able to seamlessly blend the two and make it work.
I know there were many people questioning how that dynamic would play out. While it probably wouldn’t work that way for a lot of people, it was great for us. There were only a couple of things we each felt strongly about, and in those moments, we simply compromised with one another.
As an independent creator, what was the biggest lesson you learned bringing this series to life?
Oh my, there were a few lessons, for sure. First: if at first you don’t succeed, try, try again. I know that sounds incredibly cliché, but it is so true. There are a lot of “no”s. A lot of changes. A lot of things that just don’t go your way. But if you can just keep pushing forward, eventually there is an end to the craziness, and you walk away with a project that you made! It is a ride! It very much reinforced my personal motto: the answer is always “no” if you don’t ask.
Was there a moment while making ‘Love In All The Small Places’ that reminded and reaffirmed the reason why you initially wanted to tell this story?
Yes, and the realization actually hit me on two different fronts. The first was a very personal moment when it dawned on me that I am also Sasha. I am actively reinventing myself in my forties. Who would have known I would be doing what I am doing right now, stepping into all these new roles, and actually completing this passion project? It was a beautiful, surreal parallel to realize I was living out my own new chapter alongside the character. But the other reaffirming moment went beyond the narrative itself. Anyone who knows me knows that my girls are my whole world. I wanted to show them what I am always saying: that if you put your mind to it, you can accomplish anything.
You have beautifully stated that “forty isn’t a closing chapter; for many of us, it’s a new beginning”. What do you hope viewers, especially women navigating their own unexpected life transitions, feel when they see Sasha learning that true fulfillment comes from within?
What I hope they see is that nobody is perfect, and a new chapter in our life is not linear. You don’t just wake up, decide that there will be a change, become a new person, and suddenly everything is, as Sasha says, hunky-dory. It isn’t. Just when you start to think Sasha is figuring things out, you realize she really hasn’t, because that is real life. We never have it all figured out. Your friends and family can hold you up, but at the end of the day, true fulfillment doesn’t just happen to you; you have to do the work yourself to create the life you want.
Photo Credits:
Sarah Cleveland Headshot: Tim Leyes.
Love in All the Small Places stills: Ela Kallonen.
