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This Life cancelled by CBC after two seasons

The tears and laughter shared by the Lawson family is no more. This Life will not return for a third season on CBC.

“It’s with great sadness that we say goodbye to our viewers, as #ThisLifeCBC will not be returning for a third season,” the drama’s Facebook page read on Tuesday afternoon. “Thank you for your loyalty, it has been an honour bringing you this show. May the Lawson family live on in your imaginations.”

“I was, of course, hoping to continue the story, but I’m grateful for the two great seasons, for the chance I’ve had to collaborate with a brilliant team of writers, for an amazing producer in Virginia Rankin and everyone at Sphere Media, and for an incredibly talented cast and crew,” Kay said in a statement to TV, Eh? “And thank you to our loyal audience who engaged so passionately with the show online.”

Adapted from Radio Canada’s Nouvelle Adresse by showrunner Joseph Kay, This Life starred Torri Higginson as Natalie Lawson, a single mom of three kids who is told her cancer has returned. Natalie struggles with the prognosis while dealing with the daily struggles of motherhood, a job and a family that doesn’t always get along. This Life also starred Rick Roberts, Lauren Lee Smith, Kristopher Turner, Janet-Laine Green, Peter MacNeill, Marianne Farley, Louis Ferreira, Julia Scarlett Dan, Stephanie Janusauskas and James Wotherspoon.

In a bitter twist, This Life is nominated for two Canadian Screen Awards: Best Dramatic Series and Best Supporting Actress in a Drama Series for Smith.


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.


This Life 210: Season 2 comes to an emotional conclusion in “Choose Life”

In last week’s penultimate episode of This Life, the Lawsons suffered twin traumas, as Janine suddenly passed away from a heart attack and Natalie was rushed into emergency surgery. In Sunday’s Season 2 finale, “Choose Life,” the family struggles to regain their footing as they gather for Janine’s funeral.

Here’s a sneak peek of what’s to come.

Natalie recovers from surgery
But learns her treatment options are now severely limited. Can she finally make peace with the unknown?

Oliver tries his hand at love and responsibility
With mixed results. Shannon Kook makes another welcome appearance as Oliver’s new love interest, JD.

Matthew and Nicole move forward
Which means not reverting back to the way things were.

Caleb, Emma and Romy follow their own paths
All three of Natalie’s kids end the season with a better sense of who they are and where they’re headed.

Listen for a Leonard Cohen tribute
Did you expect anything less from a show that so proudly showcases Montreal music?

No word yet on Season 3
But “Choose Life” serves as a lovely series finale if the show is not renewed. Savour another round of fine performances by the entire cast, but take a special moment to recognize the work of Torri Higginson, who has consistently brought subtlety and humour to an emotionally gruelling role. And then hope CBC does the right thing.

This Life airs Sundays at 9 p.m. on CBC.

Image courtesy of CBC.


This Life’s Janet-Laine Green on her tough scenes in “Well Fought, My Love”

Spoiler warning: Do not read this article until you have seen This Life Episode 209, “Well Fought, My Love.”

On Friday, Janet-Laine Green told us about her experience playing Janine Lawson on CBC’s This Life. In the second part of our interview, Green tells us about receiving the news her character was going to pass away in Episode 209, “Well Fought, My Love,” and what it was like to portraying her final scenes of the series.

Several of your cast mates told me they were shocked by the events in Episode 209. When were you told Janine was going to pass away?
Janet-Laine Green: I think a couple of weeks before I went down to shoot, and it just tore me apart. It just broke my heart. Honestly. I think because of the reasons that I said before, that it’s such a special show. It’s rare in a series—and I’ve done a lot of series—that you actually have the sense of family and real joy to be on the set, and we just all connected so well, the young people and my kids on the cast, and shooting in Montreal was just a joy, so beautiful. So when I got the word, I went, ‘Why? Why would you do that?’ And I couldn’t take myself out of the character. And it really is, that series, like any series, it’s all about storylines, story plots, what’s going to shock the family, shock the audience. And because it is a family, when something like that unexpected happens, that’s a great storyline. But I totally took it personally. I really went, ‘Oh, it doesn’t really matter if Janine’s in the show.’ Now I know that’s not true and having some time away from it, I went, ‘I can see why they would do it.’ But it really makes me very sad not to be in the show. Really sad. Because we like each other so much. I think that, more than anything, it was a really special combination of people.

It was definitely a shock.
It is shocking. You’re not set up for it at all. And that’s I guess what I mean by living your life to the fullest is, one doesn’t know when you’re going to die. And when there’s illness, it gives you such a different perspective on life and death. When one has been ill, you’ve been dealing with life and death quite a bit. And you’re looking at, ‘Have I done everything I wanted to do?’ and ‘What do I want to do?’ But when something like that happens that quickly, there is no looking back, there is no preparing, it’s everybody else who has to deal with the fallout.

I haven’t seen the episode, but I was there with Natalie, and I was there with Gerald, but I didn’t see how anybody else reacted. And that doesn’t matter really, it’s just being on the other side. Playing dead was awful. It was awful. Because you want to say goodbye. You want to say goodbye to your kids. You want to say goodbye to your husband. You want them to say goodbye to you. But there is no goodbye. And I think that’s even more shocking than if you have some time if you’ve been ill.


What was it like to play a body in the episode?
It’s very hard, because, for one, Peter as Gerald is trying to resuscitate me. So they had built this contraption, and they had paramedics there—real paramedics—and he had to pound on my chest to try to get me back. And they had built sort of a metal contraption to sort of protect my body from the real strong pressure that you have to give. And I went, ‘No, I’m just going to do it, and I’m not going to wear the contraption. Just, Peter, do what you need to do.’ But the hardest thing is holding your breath and not showing your breath. That’s really hard. You have to hold your breath for quite a long time. Because the camera sees it.

And then people are really sad around you. You can’t go, ‘It’s OK, it’s OK.’ And after I had finished playing dead, the director said, ‘Oh, I much prefer you being alive. You’re a much better actress when you’re alive!’ [Laughs.] But that was Louis [Choquette] again. Louis shot my last episode, so it was really nice to start with him and finish with him.

Do you have a favourite scene of the season or the series as a whole?
I loved the scene in 209 where Peter and I are just kibitzing in the kitchen and making tea and just being sort of silly, and he had to go to work and I wanted to go for a walk. It was so natural and everyday, and yet a couple who had worked through their marriage and were just having a cup of tea and were happy to have time for each other. That was actually a really beautiful scene. Even if I didn’t die, it had such a nice quality to it, and then she walks out into the sunshine.

Is there anything else you’d like to say about your time on This Life?
Thank you. Thank you to CBC for greenlighting this production, and thank you to the wonderful cast. I adored working in Montreal and all the people that made me feel so welcome and comfortable. It has just been a treasure in my career, doing this show.

And what’s next for you? 
We’re going to Mexico for a month in about a week, and then I’m coming back and doing a play called Peace River Country at the Tarragon (Feb. 7 – March 19, 2017), which is a brand new play about fracking in Alberta.

This Life airs Sundays at 9 p.m. on CBC.

Images courtesy of CBC.


This Life: Rachel Langer finds catharsis writing heartbreaking “Well Fought, My Love”

Spoiler warning: Do not read this article until you have seen This Life Episode 209, “Well Fought, My Love.”

Well, that was a gut punch.

We’ve spent nearly two seasons worried about Natalie’s (Torri Higginson) terminal cancer on CBC’s This Life, but it was Lawson family matriarch Janine (Janet-Laine Green) who received an unexpected curtain call on Sunday night’s episode, “Well Fought, My Love,” written by Rachel Langer.

In the heartbreaking installment—the penultimate episode of Season 2—Janine succumbs to a sudden heart attack on a quiet Montreal morning. And while the family is still reeling from that shock, Natalie suffers a potentially deadly medical complication that requires immediate surgery, forcing everyone to face two traumas at once.

“We talked a lot about whether that was the right move, but I think ultimately that’s life, right?” says Langer. “You get hit twice in a row sometimes, and things happen at really, really inopportune times.”

Langer joins us by phone from Vancouver to break down this difficult episode and tell us why the storyline hit so close to home for her.

First the big question:  When and why did the writers’ room decide that Janine was going to pass away?
Rachel Langer: It’s something we knew was coming for quite a while. It’s a show that talks about life and death in very grey terms. It’s not as black and white as it seems. So we knew very early on that we were going to build to that, but we didn’t know how or when. It just naturally came together as we built the rest of the season that those were the details of it.

And for Natalie—who is a mother who has spent the entire series worried about leaving her kids, worrying about how she spent her life the way that she wanted to, how she left the legacy she wanted to—to then lose her mother, it just really puts a fine point on the things she’s been going through. And it was so sudden for Janine, which is the exact opposite of her journey. So it was a story that we knew we wanted to tell, and I think we were all a little like, ‘Oh, do we do this?’ and ‘How do we do this?’ But you go where the story leads you, and we knew it was leading there for a while, so we just had to get there.

I know this episode was a very personal one for you.
When we were breaking the season we had three different development rooms in Toronto, and then once we got greenlit, we had a writers’ room and prep in Montreal. And I think during our second room, I got a call from my father that my grandfather underwent a massive stroke, and we weren’t sure what the prognosis was for a couple of days and then found out that he couldn’t swallow and it had shut down a couple of systems in his body, so it was just a waiting game for him to pass away. So everybody that was in the room was, ‘Go home if you need to go home. Don’t worry about us.’ They were just wildly supportive, specifically [showrunner] Joe [Kay] and Virginia [Rankin], our executive producer.

I basically was in the room breaking stories about a woman who was terminal and her friend Tia passing away and knowing where we were headed up to, while waiting for the news that my grandfather was going to eventually die. So it was quite a life imitating art imitating life sort of experience.

When I got to Montreal and was assigned this episode, it was after the funeral for my grandfather had happened and I’d had a month of two to kind of process it. I realized it was going to be mine, and I tried to trade Joe, but he said no. [Laughs.] And it was good he did, because it was a very cathartic experience for me to write about that. But it’s also hard to separate yourself and your personal experience and make sure you’re doing justice to the characters, instead of just your own journey.


The aftermath of Janine’s death was pretty realistic, with the EMS personnel standing around and decisions having to be made about her body. Were there many discussions about how you wanted to present the uncomfortable realities of death in the episode? 
There were a lot, actually. In the breaking of the episode as well as when I was going through and outlining. It’s such a fine balance because our whole show is based around the real. We want to just keep that as our mandate at all times. This is about real life; this is about real people—well, they’re not real people, but they could be. And I think death is dramatized on TV as a lot of crying and weeping and wailing, and we all know that happens, but in the middle of those things, are quiet moments where you just have to figure out what to do next. So we had to make sure that we had enough of those to make it feel real without making it feel completely morose, while still showing the joy of families coming together.

The choice to have Natalie have a medical emergency on top of Janine’s death was bold. Why the double tragedy?
That’s a good question. We talked a lot about whether that was the right move, but I think ultimately that’s life, right? You get hit twice in a row sometimes, and things happen at really, really inopportune times. I think everybody in the room had a story of the moment where the worst thing imaginable happened, and then it was followed up by the next worst thing imaginable.

Here we are coming toward the end of the season, and Natalie’s had some really good news. She’s had to work through a lot, but she’s had a fairly smooth season, except for Episode 203, where we got to show what it’s like when she has a bad day. It’s inevitable that she’s going to have ups and downs, and it wouldn’t feel real if she didn’t, and to put these two tragedies together was a really interesting exploration of life saying, ‘OK, this is all happening, so deal with it.’ And so we were just like, ‘OK, that’s what we’re going to do.’ Also, you have to admit, it’s very high-stakes drama. [Laughs.]

We’ve spent two seasons exploring what will happen to Emma and Romy if Natalie should die, and then Natalie’s surgery forces them to make a sudden decision. 
It was interesting to us because we had dealt with this for so long, of what was going to happen to the kids. And then to throw it into relief and say, ‘Oh, actually, we have five minutes to decide, so I sure hope they’re ready.’ And in that moment have Natalie relinquish control to the girls and say, ‘You have earned the right to choose for yourself,’ was such a huge catharsis for us as a room and I’m sure for the characters as well, because they’ve been wrestling with this and then it comes down to crunch time and there’s that relief after the decision is made. And I think it’s pronounced through Romy because that’s probably not who Natalie would have chosen for her, but she has finally said, ‘You have earned the right to choose, and I’m going to respect that.’ That just felt like huge growth in a very quick moment for us.

Matthew and Nicole finally reconnected in this episode. What’s next or them?
I think they’ve entered a new zone now. I think we all know sex changes things, and I think the nature of how and why that happened for them is really interesting. Because Nicole showed up at a time of crisis and wanted to be there for Matthew, and that just sort of gets rid of every piece of baggage you had because you’re only focused on getting through the moment and the love that comes with that. And so now the question for them becomes, ‘As we heal from this crisis, what does what we just experienced mean for us?’ and ‘We can’t go back, so how do we go forward?’ I’m sure that they will both have fairly different viewpoints.


Oliver also got the EMS guy’s number, proving life goes on even in the middle of a crisis. 
Yeah. That’s exactly it. You basically said exactly what Joseph said when we were discussing Oliver, to say that there are moments of joy and hope and happiness in the midst of tragedy, and you can choose to shut them out or you can choose to go with them. Oliver’s had a really hard time, so to give him something that he can go for in the moment, it felt really good to see him make that happen. And also I think because we’d dealt with the mood stabilizers that he’s now on, so if anybody’s in a position to see outside of the cloud of grief, it’s Oliver in this moment. So he’s well positioned to have a win there.

What were the most difficult scenes for you to write? 
The scene on the terrace where Gerald is talking about the funeral lunch. Even though it feels somewhat lighter compared the other stuff, it was a scene where I was using experiences that we had just gone through to try to inform the scene. So working through that and working through every single scene where someone had to be told or found out, those were the really difficult ones.

And, funnily enough, the scene with Emma and Romy in bed where Romy is giving the small facts on the whale. It was not a hard scene to write, because those are just things my husband and I do, but it was surprisingly emotional, because it was just a moment of, ‘How do we come together and not talk about the thing but still connect?’ And those sisters, I mean they’re so different, so that one really got me, too.

I thought the Stephanie Janusauskas and Julia Scarlett Dan were excellent in that scene.
That part about the polar bears at the end? That was all them. I wrote—and the team wrote—up until the part about the ants and, ‘Got any more,’ and then that was all the girls improvising about the polar bear, and it was perfect. Those two are so talented, and they have excellent onscreen chemistry.

What was your favourite scene of the episode?
I know it was a difficult scene, but the scene with Gerald and Maggie in the living room. They are both so good, and it was just so real, what they brought to it. Just seeing it come together like that, like the direction from Louis [Choquette] and the editing. You know, you take it so far as a group of writers and you all help each other out, and then you give it over, and these people just make it something completely different. That was just a magical one to watch. Peter [MacNeill] and Lauren [Lee Smith] are just next level in that scene.

Is there anything else you’d like to share about your experience writing, “Well Fought, My Love”?
I get so sappy about this episode because it was so tough. But I realized how much of a team environment making television can be, and not every show has that. I felt incredibly supported going through this one, and I couldn’t claim ownership over what happened at all, over the end result, but it was just a big honour to be able to write something so personal, and then have people come in and say, ‘OK, now we’ll help you take it to where it needs to go.’ It was just a really big honour for me to do that.

There’s only one episode left! What can you say about the season finale?
People come back and things are different. I really like the way the kids’ storylines coalesce in 210. I really like where Emma’s journey of identity has gone this season, and I think it’s a really interesting kind of place for her. She’s got a lot going on in her head, and I think that’s realistic for a girl her age. And the same with Romy in making her choices. So I think it’s a really good kind of place that they get to.

This Life airs Sundays at 9 p.m. on CBC.

Images courtesy of CBC.