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TV, eh? podcast episode 217 — Clear those cookies

With the holidays approaching, Greg and Anthony talk about our latest contest, where folks can win a copy of Investigating Murdoch Mysteries.

Then it’s on to a very slim calendar, Hard Rock Medical‘s season return, our thoughts on à la carte channels and what Christmas programming we watch during the holidays.

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Michelle Ricci discusses “Once Upon a Murdoch Christmas”

Merry Christmas, Murdoch Mysteries fans. I don’t know about you, but I think Michelle Ricci, Paul Aitken and Carol Hay delivered one heck of a present in Monday’s two-hour holiday special.

“Once Upon a Murdoch Christmas” had everything fans love, including a crime (presents being stolen), a mystery (William’s gifts to Julia), technology (Crabtree’s Jumping Jack superhuman man), sumptuous wardrobe (Julia’s dress was incredible), nods to stories of yesteryear (Robin Hood and Hans Christian Andersen’s “The Snow Queen”) and a grand finale setting at Casa Loma that probably put production in the red.

We spoke to Michelle Ricci about what went into Monday’s holiday spectacle, including an interesting tidbit about England.

You guys were firing on all cylinders for this. You really gave something the fans want and love.
Michelle Ricci: It’s so fun.

How did the initial idea for this storyline come about?
It had an interesting evolution. It actually started with the possibility of it partly being shot in England and involving weird haunted houses or creepy English villages, and that’s where The Snow Queen idea came in. Julia was going to walk into this village and be recognized as this mythical being who has some relevance to this weird town that has its own Christmas traditions. We had a lot of fun with that and then learned that we wouldn’t be filming in England. So we brought it back to Toronto and wanted to keep the same spirit because we all really loved the idea of Ogden being The Snow Queen.

We then discovered this storyline with these incredibly adorable children that really embodied the classic movie spirit of Christmas in what we hope is an original way.

Wardrobe knocked it out of the park. Julia’s final dress was simply amazing.
It was so gorgeous and she looks like a fairytale princess.

Did she feel like a princess?
She did. She put it on and came right up to the writers’ room and said, ‘Oh my God!’ This was such a stark contrast to last year’s gown, which was a very traditional Christmas with red and white. This year we were more a blue and silver kind of palette and that made it feel fresh and very different and very fairytale like.

You weren’t aware of any colour palette as you were writing. That’s all wardrobe, set decoration and props.
Exactly. We wrote fairytale and princess like and then [costume designer] Alex [Reda] felt this was the perfect way to go. He did an absolutely fabulous job.

Something I love about these holiday specials is that they’re standalone and have no through lines from the season. All of the major characters are involved with no mention of past storylines. How refreshing is that to start with a clean slate?
There are different constraints. You have to look for a meaningful storyline for each of the characters and we extended that to Higgins and Jackson and Margaret. Although they’re not considered core characters, they’re integral to the show and we wanted to make sure they had their due as well. And then making sure that each of our main characters has something unique and different from last year’s experience and a new way of telling their Christmas perspective.

It was a challenge for sure, but we had no shortage of ideas.

I guess that’s one of the advantages of writing for 90 minutes as opposed to 44 minutes.
Absolutely. And it means we can do different storylines that don’t necessarily have to intersect. The choir story—they all come together in the end—is very much separate and gives Rebecca James her individual piece of the action. And we have Ogden with the children, and that’s not really Murdoch’s story. And then you have Murdoch and Crabtree on the case dealing with their crazy inventions and imagination that is so much a part of the series. And with the 90 minutes, you can just take things up that one extra bit.

I loved the little mystery of the four presents just between Julia and William. Who came up with the Galapagos Islands as being the present?
Paul did. We were all talking about what little romantic storyline there would be for Ogden and Murdoch. We started with the 12 days of Christmas and found that was a little overwhelming. [Laughs.] So we brought it down a little bit. But, of course, how would Julia and Murdoch celebrate Christmas? Of course, he would concoct a little mystery for Ogden to solve and of course she would find that the most delightful thing in the world. And, of course, at the end of it, it would be some great, nerdy, big adventure that the two of them could go off on together. It just seemed to almost write itself in a way.

I enjoyed the return to Crabtree’s wacky ideas and his comic book creation, Jumping Jack. Did the illustrator’s name, Gregory Heckenbush, mean anything?
No, it doesn’t mean anything.

Dammit. You guys work so much real history into the show I have to research everything.
[Laughs.] No, we have a lot of fun with names. We have a few ridiculous names thrown up on the board and we see if we can throw them into the season more for variety and fun and as a tonal thing than anything else. Heckenbush, I don’t even know where that came from … maybe me? It has no meaning.

Robert Carli’s music. I mean…
Paul and I were talking to him at the wrap party and we were complimenting him on his music and he was complimenting us on our scripts. We said to him, ‘Don’t think that we don’t recognize how much you fix our problems.’ Not all scripts are perfect and we can really see when the music comes in, that all of a sudden things work. And you think, ‘Wow, thank you, Rob Carli for saving our bacon.’ And he said, ‘That’s really funny because, to me, your scripts save my music.’ That’s a load of balderdash, but it was very nice of him to say.

Speaking of music, Mouna has a fantastic voice. Did you know that beforehand?
Yeah. We were shooting an episode in Guelph [“Jagged Little Pill”] and apparently there was a karaoke machine and Mouna went up and sang and blew everyone’s mind. We knew that and built it into the script.

It was nice to have that little side story between her and Jackson and the choir. Can Kristian really sing, or is he really a bad singer?
He says he can really sing. I’ve never heard it, so it might not be true. He did say it was really hard to sing badly. It’s nice to give characters who don’t normally interact a chance to do so.

This was filmed in October. I guess it was nice no to have to worry about snow; you just wrote there wasn’t any.
All we could hope for was that the leaves wouldn’t be turning as we shot it. If they’re green, you can hide them. If they’re not there, that’s great too. But if they are turning … this story is a lot more urban than last year and we tried to avoid those scenarios where we’d have to worry about a lot of post work and riffing off the no snow idea because we knew there wouldn’t be any.

Craig Grant … the rotorized aeropack is another example of something that looks like it would totally work.
This is something that Paul and Craig have been talking about for as long as I’ve been on the show, and possibly before, is a helicopter backpack. A long, long time ago I’d wanted to do a story on Spring-heeled Jack, a Victorian quasi-comic hero and Paul really wanted to do Inspector Gadget. The two of us were constantly warring over who was going to write the episode where this happened. And, six years later, it hadn’t happened. Then we get to the Christmas special and we were like, ‘This would be the perfect time to do it. We can have Crabtree write a comic book and it can be Spring-heeled Jack slash Inspector Gadget,’ and it became Jumping Jack. And Paul said, ‘helicopter backpack,’ and it all came together.

It was years of ideas that amalgamated into this one storyline.

How was The Salvation Army incorporated into the story?
The CBC has a whole department where they’re looking for opportunities to partner with people and during the Christmas seasons, it’s nice to partner with a charitable organization. Last year, we did it with Sick Kids and it was really successful. We put a bunch of charities into an early version of the script, ones that we knew were around at the time, and it turned out the CBC had already been talking to The Salvation Army and it all came together.

You also had a little Scrooge moment at the end of the episode. The only thing missing was a goose the size of one of the children.
I know! [Laughs.] There are some things you have to put in a Christmas episode.

Set decoration must have had a field day at Casa Loma.
That set was so spectacular. I hope on-screen does it justice because in-person everyone, after 10 years of working on the show, was blown away. It was absolutely stunning. Casa Loma was the perfect venue and what the art department and the set decoration team did was just outstanding. And then, add to that Alex’s costumes, and you were transported to a fairy land. It was really, really incredible.

Murdoch Mysteries airs Mondays at 8 p.m. on CBC.

Images courtesy of CBC.


Link: Travelers: Jared Abrahamson talks branching out as Trevor

From Kelly Townsend of The TV Junkies:

Link: Travelers: Jared Abrahamson talks branching out as Trevor
“I’ve been playing a lot of roughneck, blue collar characters, and I kept saying I want to play someone smart, show that I can be articulate and have a completely other side to me. All of a sudden I get this audition for the old man engineer in the young man’s body and it’s perfect.” Continue reading. 


Link: Tatiana Maslany says shooting the final season of Orphan Black has been “Extremely Emotional”

From Ryan Roschke of PopSugar:

Link: Tatiana Maslany says shooting the final season of Orphan Black has been “Extremely Emotional”
“We’re five episodes into the last 10, and it’s been extremely emotional. I think, because of what’s going on in the world, it feels vital to be telling these stories. And, all of your clones are very much experiencing things that are related to all of this crap. They’re disparate, they’re separated, and they kind of have to come together.” Continue reading. 


This Life Season 2 finale: Showrunner Joseph Kay on Natalie’s decision to “Choose Life”

Spoiler warning: Do not read this article until you have seen This Life Episode 210, “Choose Life.”

Natalie Lawson (Torri Higginson) has been on an emotional roller coaster throughout the second season of CBC’s This Life. She gutted her way through the side effects of her cancer drug trial, learned she was in partial remission, dealt with the return of her ex-husband, David (Louis Ferreira), suddenly lost her mother, Janine (Janet-Laine Green), and nearly died in emergency surgery. All the while, she tried to plan for what will happen to her children if she succumbs to her disease. But in Sunday’s season finale, “Choose Life,” written by showrunner Joseph Kay, Natalie discovers she’s out of treatment options—and has little choice but to finally relinquish control and come to peace with her situation.

“So much of the show has been about Natalie preparing for [her kids] and trying to control them,” explains Kay. “We just wanted to put her in this position where all she could do was accept it and live in the moment.”

Natalie wasn’t the only one to have a moment of clarity in the episode. Caleb (James Wotherspoon), Emma (Stephanie Janusauskas) and Romy (Julia Scarlett Dan) also came to new understandings about who they are and what they want out of life. Meanwhile, Matthew (Rick Roberts) and Nicole (Marianne Farley) found themselves at an interesting crossroads in their marriage, Oliver (Kristopher Turner) reconciled with Gerald (Peter MacNeill), and Maggie (Lauren Lee Smith) showed off her new-found maturity.

Kay joins us by phone to break down “Choose Life” and tease what may be coming up next for the Lawson family, should CBC greenlight a third season.

Janine’s funeral brings everyone together in the finale and moves several storylines along. Was that one of the motivations you had for writing her death?
Joseph Kay: The major reason that we felt her death was necessary—and it was something that we thought about for a very long time—was that in a show about this woman who is, from the very first scene of the show, preparing to die and trying to sort of get power over it because she knows it’s coming, it was important that someone needed to die. Just to tell her that this is what it is, and you can’t get ready for this. It had to be someone close to her, and, obviously, it was never going to be one of the kids, and who is closer than your mother? I don’t mean to say that we did it only for Natalie, but that was the line of thinking. So much of what goes through Natalie’s head is, ‘How can I prepare for this? How can I make sure my children are ready? How can I control this? How can it happen in a way that it’s going to be OK, and I know it’s going to be OK?’ And that’s just not the way it works, you know?

So that was the motivation, and then when we decided to really get behind it and do it, then we realized that it was the perfect crisis point for numerous threads that we had been dangling to come together. Family comes together in crisis, and it crystallizes things or it diffuses things or it has a way of cutting through distance, reminding you who has got your back in life. So it just felt natural, and we knew that we had to do it in the second-to-last episode. We just knew that structurally that’s where it had to go.

Caleb shows up for the funeral with a new girlfriend and her daughter. At first, that was surprising, but upon reflection it makes perfect sense.
For us, he kind of goes back and forth between not wanting to be his dad and hoping he doesn’t turn out like his dad, and then being the guy who filled in for his dad. So wanting to save a single mother and her child was very Caleb, we thought, but it also had some David in it. So, for us, it’s about Caleb becoming his own man. He’s doing it for himself, but he’s kind of motivated by who he is, and he’s just kind of caught between his two parents.

Over the last two episodes, Romy has finally been given the freedom to make her own choices, including to live with David if Natalie dies. Is that exactly what she needed?
Yeah, I think it was. I don’t think she knew exactly how it would come. I mean, Romy was the one who brought David back, and she was the one who at that end of Episode 209 put her faith in him, [believing] he’s going to come back. And she wants a dad. For her to breakthrough with him on some level, she put her trust in him, and it seems to have paid off for her—at least for now. She’s trying to make herself seen, you know, ‘I’m here,’ and doing that in the way Romy does it.

Natalie is a great mother. Nobody would doubt that. But that it would take her this long, and for Romy to have to go through that much for Natalie just to suggest, ‘How about we send you to school for more artistic kids?’ There was probably a shorter route for Romy to get there, but she had to live through all that in her own way to get there. For us, it was just, is she going to go live with her dad right now? Is she going to leave? What’s she going to do? And I guess sometimes you get what you want, and it’s scary.

True. In the scene in the park with David, Romy looked a bit overwhelmed by her choices. Julia Scarlett Dan’s expression was perfect.
Right! She’s so expressive. I mean, God, that girl . . . In that scene, we wanted to end it on that look, but there were so many options because she’s so expressive in the moment and vulnerable. She’s just lovely.

Emma decided she was done with Miranda’s antics and quit her job, but I hope the storyline about her sexual identity won’t get dropped.
We felt that her affection for Miranda was real. So even though Miranda revealed herself as maybe not the greatest person in the world and Emma made a decision, we’d like to see where that goes, too.

It absolutely will not [get dropped] because we felt that we came to that with Emma in a way that’s really organic to who she is. And also Emma, she doesn’t have to take shit from people. She’s developing the confidence. We believe in what’s happening to her and very much want to see where it goes.

Matthew and Nicole discussed their future, and Nicole has a much more open-ended view of their relationship than Matthew expected, which I love. Why did you decide that felt right for her?
We, the writers, just loved that development as well. [Laughs.] We are super excited to hopefully get to explore it. She’s been going through this growth, and we only see sparsely what’s happening on her side of all that. You know, she got married young, she lived a fairly sheltered life, and she didn’t want to go back to square one. So it felt important for her not to just revert to a housewife—not that there’s anything wrong with being a housewife, there absolutely isn’t. But, for Nicole, she just wasn’t going to be happy going back to the way things were. She’s changed, and she still loves him, but she wants to know what’s out there. And she’s had experiences offscreen that she liked, so she wants to know what’s going to happen. And conversely for Matthew, he needs to control his existence in a big way, and this would be difficult for him, so that excites the writers.

Oliver agreed to work for Gerald at the garage to help pay back the loan for his studio. Was having him fully reconcile with his dad the goal of the season for him?
Yes. Because when he first comes back in Season 1, he comes back with tension with his parents, but we always felt it was more squarely with his dad. He had a hard time connecting with his dad, and we wanted to bring those two together in the absence of Janine.

I have to say that I really like Oliver and JD together.
With the JD thing, we liked the idea that—at his most vulnerable, with his mother just passed and with his own mental health—that [Oliver] has a strong connection with someone at the least likely time, and that the relationship starts on Level 20 instead of on Level 1. Oliver has had kind of a rough ride as far as his relationships have gone on the show, and we felt he deserved something . . . And with Shannon Kook, who plays JD, we took that seriously because we knew we wanted to explore it, so we had chemistry casting with the few actors we were looking at, and those two seemed to connect.

So much happened with Natalie this season, but at the end, she seemed to accept that she had to let it all go and live in the moment. Did you know that’s where you wanted her to end up when you began writing Season 2?
It was always present, because I think if you were in her position, starting from the very beginning of the series, you’d think, ‘OK, I’ve got to get things ready for the kids,’ but also, ‘I’m alive now, what do I do?’ So that idea is present, but I think to get there is not a linear path, and it’s a messy path where it may feel like you’re moving backwards all the time. We were trying to complicate things and complicate things and have her challenge her own life and her own happiness and all her own decisions and the way she saw herself, to have her get to this point where she just has to let go. She has no choice because she’s told, ‘You don’t have any options.’ And they’re not kidding when they say that to her.


Did you always envision the season ending with the fireworks? The Leonard Cohen song was a nice touch.
Yeah. We had the idea for a really long time. We had the idea for the Leonard Cohen song a long time ago as well. We didn’t do it because he passed away. The visuals are beatific and beautiful, and the song is ‘Bird On A Wire,’ so it’s a sad song. So I think she’s sitting there at peace and looking at the fireworks, and her kids are wherever they are, and the song is sad. Everything is going to be OK because it has to be. Because [she’s] alive now and then also there is the great unknown before her. It will be a different stage in Natalie’s story. Obviously, she is still going to worry about her kids and engage with her kids, but she has to get past worrying about the minutiae of it.

What are you most proud of regarding Season 2?
I’m really proud of the way it came together. I know that’s such a general answer, but it’s a very hard show to write and make. I think that on the level of the scripts, we took something and deepened it and made it more complex and dug into the characters in interesting ways. I’m really proud of the writers and all the work that got made and of the filmmaking overall. People were always happy with the scripts, but there’s a big difference between liking the scripts and then a show coming together. I feel like on every level our directors and our editors are so good, making these moments that are often very sparse in the script. They really are. And, obviously, the actors are amazing, and they are so expressive. But I’m just proud of the team and how much everybody is able to do with a limited budget. There’s always not enough time and not enough resources, but the show looks good and it feels good, and that’s thanks to the great team that we have on every level.

We hope that This Life is renewed for Season 3. What would you like to explore next season?
I think we want to dig into all the questions that we ask in the last episode. Is it endgame for Natalie? That’s a big question for us. Is it over, and what does that look like? And we wouldn’t shy away from any of the questions we ask in the last episode, like what would Matthew and Nicole having an open marriage look like? We’d like to dig into that and follow that. Romy says that she’s going to go live with her dad, so do we also go there? We do a lot of work to make sure everybody’s journeys are grounded and real and feel honest, and we don’t want to pull the rug out anywhere. That means sometimes that there aren’t huge twists on this show, but hopefully you believe it when you see it. I feel like all the questions we ask, we really want to answer them.

Images courtesy of CBC.